DUKE 

UNIVERSITY 


WOMAN’S  COLLEGE 
LIBRARY 


Digitized  by  the  Internet  Archive 
in  2017  with  funding  from 
Duke  University  Libraries 


https://archive.org/details/artistsofninetee21wate 


MRS.  CLEMENTS  ART  HANDBOOKS. 


A Handbook  of  Legendary  and  Mythological  Art. 

1 By  Clara  Erskine  Clement.  A new  edition,  revi.sed  and 
enlarged.  Fully  illustrated,  and  with  complete  index.  Crown 
8 VO,  $3.25  ; half  calf,  or  morocco,  $5.00  ; full  morocco,  or 
ti’ee  calf,  $7.00. 

A perfect  storehouse  of  facts  relative  to  symbolism  in  art,  and  the  leg- 
ends, stories,  and  myths  associated  with  them.  The  wonderful  and  touch- 
ing histories  of  the  Christian  saints  and  martyrs  are  told  with  a freshness 
and  fullness  which  giv'e  to  the  book  an  intrinsic  value  quite  distinct  from 
its  ulterior  design.  — Christian  Union. 

Painters,  Sculptors,  Architects,  Engravers,  and  their 
Works.  By  Clara  Erskine  Clement.  With  illustra- 
tions and  monograms.  Fifth  edition,  revised.  Crown  8vo, 
$3.25;  half  calf,  or  morocco,  $5.00  ; tree  calf,  or  full  morocco, 
$7.00. 

Indispensable  to  every  person  interested  in  pictures  and  artists.  It  gives 
not  only  the  biograph3’  of  artists,  but  lists  of  engra^dngs  from  their  works, 
and  by  means  of  cross-references  and  copious  indexes  is  a complete  hand- 
book. It  is  liberally  illustrated  bj'  representations  of  standard  works  of 
art,  and  the  curious  monograms  of  painters  are  given  with  the  biographies. 

Artists  of  the  Nineteenth  Century  and  their  Works. 
A Handbook  containing  2,050  Biographical  Sketches.  By 
Clara  Erskine  Clement  and  Laurence  Hutton.  With 
indexes.  2 vols.  crown  8vo,  $5.00. 

These  two  volumes  include  biographical  sketches  of  2,050  artists,  of  all 
nations  in  which  there  exists  sutBcient  intellectual  and  aesthetic  develop- 
ment to  foster  productive  art.  Of  these  artists  the  best  attainable  infor- 
mation is  given,  with  an  account  of  their  works,  the  departments  to  which 
(hey  belong,  their  characteristic  sttdes,  and  the  opinions  entertained  of 
them  by  competent  critics. 

The  Introduction  comprises  a concise  but  comprehensive  account  of  the 
academies  and  schools  of  art  of  all  countries,  describing  their  various 
sy  stems  of  studt'  and  instruction. 

HOUGHTON,  OSGOOD  & CO.,  Publishers,  Boston. 


ARTISTS 


OF  THE  NINETEENTH  CENTUEY 

AND  THEIR  WORKS. 

a i^auubooli 

CONTAINING  TWO  THOUSAND  AND  FIFTY  BIOGRAPHICAL 
SKETCHES. 


?Y 

CLARA  ERSKINE  CLEMENT 

AND 

LAURENCE  HUTTON. 

VOL.  II. 


BOSTON: 

HOUGHTON,  OSGOOD  AND  COMPANY. 

QTte  Eibcrciuc  Press,  Camiiriliffe. 

1879. 


-loz 

V/  SJl'?  A 

V. 


COPTKIGHT,  1879. 

Br  CLABA  ERSKINE  CLEMENT. 


All  rights  reserved. 


ELECTEOTYPED  AND  PRINTED  AT  THE  UNTVERSITT  PRESS, 
CAMBRIDGE. 


CONTENTS 


Page 

NAMES  OF  ARTISTS  vii-lvi 

AUTHORITIES  CONSULTED Ivii-lviii 

ARTISTS  OF  THE  NINETEENTH  CENTURY 1-373 

INDEX  TO  AUTHORITIES  QUOTED 1-8 

INDEX  OF  PLACES 9-22 

GENERAL  INDEX 23-43 


NAMES  OF  ARTISTS, 


ABBEY,  EDWIN  A Vol.  I.  Page  1 

ABEL  DE  PUJOL,  ALEXANDRE  D “ “ 1 

ABSOLON,  JOHN “ “ 2 

AOHARD,  ALEXIS  JEAN  “ “ 2 

ACHENBACH,  ANDREAS  “ “ 2 

ACHENBACH,  OSWALD “ “ 3 

ACHTERMANN,  GUILLAUME “ “ 3 

ADAM,  ALBRECHT “ “ 3 

ADAM,  JEAN  VICTOR  “ “ 3 

ADAM,  FRANZ “ “ 4 

ADAM-SALOMON,  ANTHONY  S “ “ 4 

ADAMS-ACTON,  JOHN “ “ 4 

ADAN,  LOUIS  Smile  “ “ 4 

AFINGER,  BERNARD " “ 6 

AGNENI,  EUGfiNE  “ “ 5 

AGRASOT,  JOAQUIN  “ “ 5 

AGRICOLA,  FILIPPO “ “ 5 

AHLBORN,  AUGUST  WILHELM  JULIUS  “ “ 5 

AINMULLER,  MAXIMILIAN  EMMANUEL  “ “ 6 

AKERS,  PAUL  " " 6 

AKERS,  CHARLES  “ “ 6 

ALBANO,  SALVATORE  “ “ 7 

ALBERT-LEFEUVRE,  LOUIS  S.  M “ " 7 

ALCOTT,  MISS  MAY  “ “ 7 

ALEXANDER,  FRANCIS  “ “ 8 

ALEXANDER,  MISS  “ » 8 

ALIGNY,  CLAUDE  F.  T.  CARUELLE  D’ “ “ 8 

ALLAN,  SIR  WILLIAM “ “ 9 

ALLEN,  JAMES  BAYLIS  “ “ 9 

ALLINGHAM,  HELEN  PATERSON  “ “ 9 

ALLONGS,  AUGUSTE “ “ 10 

ALLSTON,  WASHINGTON  “ “ 10 

ALMA-TADEMA,  LAURENZ “ “ 11 

ALMA-TADEMA,  LAURA  “ “ 12 


NAMES  OF  ARTISTS. 


viii 

ALVAEEZ  Y ESPINO,  GONZALO  Vol.  I.  Page  12 

AMAURY-DUVAL,  EUGfiNE  E “ “ 12 

AMBERG,  WILHELM “ “ 13 

AMERLING,  FREDERIC “ “ 14 

AMES,  JOSEPH  “ “ 14 

ANASTASI,  AUGUSTE  “ “ 15 

ANDERSON,  ALEXANDER  “ “ 15 

ANDERSON,  A.  A “ “ 15 

ANDR^,  JULES  “ “ 16 

ANDREWS,  JOSEPH  " “ 16 

ANDREWS,  E.  F “ “ 17 

ANGELI,  HEINRICH  VON  “ “ 17 

ANKER,  ALBERT “ “ 17 

ANSDELL,  RICHARD " “ 18 

ANTHONY,  MARK  “ “ 18 

ANTHONY,  ANDREAV  VARICK  STOUT  “ “ 19 

ANTIGNA,  JEAN-PIERRE-ALEXANDRE “ " 20 

ANTIGNA,  MME.  llfiLfiNE-MARIE  " “ 20 

APPERT,  EUGENE  “ “ 20 

APPIANI,  ANDREA “ “ 20 

APPLETON,  THOMAS  G “ “ 21 

ARCHER,  WYKEHAM  “ “ 21 

ARCHER,  JAMES “ “ 21 

ARGENTI,  GIOSUE “ “ 22 

ARIENTI,  CARLO  “ “ 22 

ARMAND-DUMARESQ,  C.  E “ “ 22 

ARMITAGE,  EDWARD  " “ 22 

ARMSTEAD,  HENRY  HUGH  “ “ 23 

ARMSTRONG,  THOMAS “ “ 24 

ARMSTRONG,  D.  MAITLAND " “ 24 

ARTARIA,  MATHIAS  “ “ 24 

ARTZ,  ADOLPH  “ “ 24 

AUBE,  JEAN-PAUL  “ “ 25 

AUBERT,  JEAN-ERNEST  “ “ 25 

AUDUBON,  JOHN  JAMES  “ “ 25 

AUGUR,  HEZEKIAH  “ “ 26 

AYVASOWSKY,  JOHN  “ “ 26 

AZEGLIO,  MASSIMO  D’  “ “ 27 

BAADER,  LOUIS  MARIE “ “ 27 

BACON,  HENRY  “ “ 27 

BADIN,  JULES “ “ 28 

BAIL,  JEAN-ANTOINE  “ “ 28 


NAMES  OF  ARTISTS.  ix 

BAILLY,  ANTOINE  NICOLAS  Vol.  I.  Page  28 

BAILLY,  JOSEPH  A “ “ 28 

BAILY,  EDWARD  H “ “ 29 

BAKER.  GEORGE  A “ 29 

BAKER,  WILLIAM  H “ “ 29 

BAKER.  MISS  M.  K “ “ 30 

BAKKER-KOREF,  ALEXANDRE-HUGO  “ “ 30 

BALL,  THOMAS  “ “ 30 

BALLU,  THfiODORE  “ “ 31 

BALTARD,  VICTOR “ “ 31 

BALZE,  JEAN-ETIENNE-PAUL  “ “ 31 

BALZE,  JEAN-ANTOINE-RAYMOND “ “ 31 

BAMBERGER,  FRITZ “ “ 32 

BANDEL.  ERNEST  DE  “ “ 32 

BANNING,  WILLIAM  J “ “ 32 

BANNISTER,  E.  M “ “ 32 

BARABAS,  NICOLAS  “ “ 33 

BARABINO,  NICCOLO  “ “ 33 

BARATTA,  FRANCOIS  “ " 33 

BARATTA,  EUMENE  “ “ 33 

BARBEE,  HERBERT  “ “ 33 

BARBEE,  WILLIAM  R “ “ 33 

BARBETTI,  ANGELO  “ “ 33 

BARBIER,  NICOLAS-ALEX ANDRE  “ “ 33 

BARCAGLIA,  DONATO  “ “ 33 

BARCLAY,  J.  M “ “ 34 

BARKER,  THOMAS  JONES “ “ 34 

BARLOW,  THOMAS  OLDHAM  “ “ 34 

BARON,  HENRI-CHARLES-ANTOINE  “ “ 34 

BARRE,  JEAN-AUGUSTE  “ “ 35 

BARRIAS,  FELIX-^JOSEPH  “ “ 35 

BARRIAS,  LOUIS  ERNEST  “ “ 35 

BARRY,  EDWARD  M “ “ 36 

BARTHOLDI,  FREDERIC  AUGUSTE “ “ 36 

BARTHOLOAIEW,  VALENTINE  “ “ 36 

BARTHOLOMEW,  ANNE  “ “ 36 

BARTHOLOMEW,  EDWARD  S “ “ 36 

BARTLETT,  TRUMAN  H " “ 37 

BARTOLINI,  LORENZO “ “ 37 

BARYE,  ANTOINE  LOUIS  “ “ 37 

BARYE,  ALFRED “ “ 38 

BARZAGHI,  FRANCESCO “ “ 38 

BASTIANINI,  GIOVANNI  “ “ 39 


X 


NAMES  OF  ARTISTS. 


BASTIEN-LEPAGB,  JULES  Vol.  I.  Page  40 

BATES,  DEWEY  “ “ 40 

BAUDRY,  PAUL-JACQUES-AIMfi  “ » 40 

BAUGNIET,  CHARLES  “ " 41 

BAUR,  ALBERT  “ “ 42 

BAXTER.  CHARLES  “ “ 42 

BAXTER,  ELIJAH,  JR “ “ 43 

BAYARD,  fiMILE “ “ 43 

BEARD,  JAMES  H " “ 43 

BEARD,  WILLIAM  H “ “ 43 

BEARD,  HARRY  “ “ 44 

BEAUME,  JOSEPH  “ “ 44 

BEAUMONT,  CHARLES-fiDOUARD  DE  “ “ 43 

BEAUVERIE,  CHARLES  JOSEPH  “ “ 43 

BEAVIS,  RICHARD “ “ 43 

BECKER,  JAKOB “ “ 43 

BECKER,  CARL  “ “ 46 

BECKER,  LUDWIG  HUGO  “ “ 46 

BECKER,  GEORGES  " “ 47 

BECKMANN,  KARL  “ “ 47 

BECKMANN,  WILHELM  H.  R.  A “ “ 47 

BECKWITH,  J.  CARROLL  “ “ 48 

BEDFORD,  J.  B “ “ 48 

BEGAS,  KARL  “ “ 48 

BEGAS,  OSKAR  “ " 48 

BEGAS,  REINHOLD  “ “ 48 

BEGAS,  ADELBERT-FRANZ-EUGEN “ “ 49 

BEHNES,  WILLIAM  “ “ 49 

BELL,  ROBERT  CHARLES  “ " 49 

BELL,  JOHN “ “ 50 

BELLANGE,  JOSEPH-LOUTS-HIPPOLYTE “ “ 30 

BELLANGER,  CAMILLE-FELIX “ “ 50 

BELLAY,  PAUL-ALPHONSE “ “ 50 

BELLEL,  JEAN-JOSEPH  “ “ 50 

BELLOC,  JEAN  HILAIRE  “ ’ “ 51 

BELLOWS,  ALBERT  F “ “ 51 

BELLUNI,  GIUSEPPE " “ 52 

BELLY.  LEON-AUGUSTE-ADOLPHE “ “ 53 

BENCZUR,  JULIUS “ “ 53 

BENDEMANN,  EDUARD  “ “ 53 

BENDEMANN,  RUDOLPH  CHRISTIAN  E “ “ 54 

BENEDETTI,  TOMMASO  “ " 54 

BENJAMIN.  SAMUEL  GREEN  WHEELER “ “ 54 


NAMES  OF  ARTISTS. 


BENOUVILLE,  ACHTLLE-JEAN 

BENOUVILLE,  FRANgOIS  LEON  

BENSON,  EUGENE  

BENVENUTI,  LORENZO  

bbrchEre,  NARCISSE 

BERGERET,  DENIS-PIERRE  

BERGH,  EDWARD  

BERGMANN,  IGNACE  

BERNARDELLI,  A 

BBRNE-BELLECOUR,  fiTIENNE-PROSPER 

BERNHARDT,  SARAH  

BERNIER,  CAMILLE 

BERLIN,  FRANQOIS-EDOUARD 

BERTRAND,  JACQUES  

BESNARD,  PAUL-ALBERT  

betsbllEre,  PIERRE-EMILE 

BEVERLY,  WILLIAM  R 

BEWER,  CLEMENT 

BEWICK,  WILLIAM  

BEYLARD,  LOUIS  CHARLES  

BEZZUOLI,  GIUSEPPE  

BIARD,  FRANQOIS 

BIDA,  ALEXANDRE  

BIEFVE,  EDOUARD  DE  

BIERCHER,  MATHIEU  

BIERMANN,  CHARLES  fiDOUARD  

BIERSTADT,  ALBERT  

BILDERS,  J.  W 

BILLET,  PIERRE 

BILLINGS,  HAMMATT  

BING,  VALENTIN  

BIRCH,  THOMAS  

BISI,  GIUSEPPE 

BISI,  LUIGI  

BIS  PHAM,  PIENRY  C 

BISSCHOP,  CHRISTOPHE  

BLAAS,  KARL  

BLAAS,  EUGEN  

BLACKMAN,  WALTER  

BLANC,  LOUIS  AMMY 

BLANC,  PAUL  JOSEPH  

BLANCHARD,  HENRI  P.  L.  P 

BLANCHARD,  AUGUSTE-THOIiIAS-MARIB 


Vol.  I. 


Page  55 
“ 55 

“ 55 
" 56 
“ 57 
“ 57 
“ 57 
“ 57 
“ 57 
“ 57 
“ 58 
“ 58 
“ 58 
“ 59 

“ 59 
“ 59 
“ 59 
“ 59 
“ 69 
“ 59 
“ 60 
“ 60 
“ 60 
" 60 
“ 61 
“ 61 
“ 61 
“ 63 
“ 63 
“ 63 
“ 63 
“ 63 
“ 63 
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“ 64 
“ 64 
“ 64 
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“ 65 
“ 65 
“ 65 
“ 65 


NAMES  OF  ARTISTS. 


xii 

BLANCHARD,  fiDOUARD  THEOPHILE  A^ol.  I.  Page 

BLANCHARD,  JULES 

BLASER,  GUSTAV  

BLASHFIELD,  EDWIN  H 

BLAUVELT,  CHARLES  F 

BLEIBTREU,  GEORG  

BLERY,  EUGENE 

BLOCK,  EUGENE  FRANgOIS  DE 

BLONDEL,  JACOB  D 

BLOOMER,  H.  REYNOLDS  

BOCKLIN,  ARNOLD  

BODMER,  KARL  

BOE,  FRANCOIS  DIDIER 

BOEHM,  JOSEPH  EDGAR  

BOENISCH,  GUSTAV  ADOLF 

BOESWILLWALD,  EBIILE 

BOGLE,  JAMES  

BOGOLIOOBOFF,  ALEXIS 

BOIT,  EDMLARD  D 

BOLDINI,  G 

BONHEUR,  MARIE-ROSA 

BONHEUR,  FRANgOIS-AUGUSTE  

BONHEUR,  JULES  ISIDORE  

BONHEUR,  JULIETTE  (MME.  PEYROL) 

BONNASSIEUX,  JEAN  MARIE  

BONNAT,  LEON-JOSEPII-FLORENTIN  

BONNEGRACE,  CHARLES-ADOLPHE  

BONVIN,  FRANgOIS-SAINT  

BOOTT,  ELIZABETH  

BORJESEN,  J 

BORSATO,  GIUSEPPE  

BOSBOOM,  JOHANNES 

BOSIO,  ASTYANAX  SCEVOLA  •. 

BOTTINELLI,  ANTONIO  

BOUCHER,  ALFRED  

BOUGH,  SAMUEL  

BOUGHTON,  GEORGE  H 

BOUGUEREAU,  WILLIAM  ADOLPHE  

BOULANGER,  LOUIS 

BOULANGER,  GUSTAVE-RODOLPHE-CLARENCE... 

BOURCE,  HENRI  

BOURGEOIS,  LfiON-PIERRE-URBAIN 

BOURRE,  ANTOINE-FELIX 


66 

66 

66 

66 

66 

67 

67 

67 

67 

67 

68 

70 

70 

70 

71 

71 

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71 

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73 

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79 

81 

82 

82 

82 

82 


NAMES  OF  ARTISTS.  xiii 


BOUTEL,  L.  M.  DE.  See  MONVEL  

BOUTELLE,  DE  WITT  C 

BOUVIER,  ARTHUR  

BOVY,  JEAN-PRANgOIS-ANTOINE  

BOXALL,  SIR  WILLIAM  

BOYCE,  GEORGE  P 

BOYS,  THOMAS  S 

BRACKETT,  EDWIN  E 

BRACKETT,  WALTER  M 

BRACQUEMOND,  FELIX  

BRACQUEMOND,  MME.  MARIE 

BRADFORD,  WILLIAM 

BRADLEY,  JOHN  HENRY  

BRADLEY,  BASIL  

BRAEKELEER,  FERDINAND  DE  

BRANDARD,  ROBERT  

BRANDON,  E 

BRANDT,  JOSEF 

BRANDT,  CARL  

BRANWHITE,  CHARLES  

BRASCASSAT,  JACQUES  RAYMOND  

BRENDEL,  HEINRICH  ALBERT  

BRETON,  JULES  ADOLPHE  

BRETON,  EMILE  ADELARD  

BREVOORT,  JAMES  RENAVICK 

BRICHER,  ALBERT  T 

BRIDEL,  FREDERICK  L 

BRIDGEMAN,  FREDERICK  A 

BRIDGES,  MISS  FIDELIA  

BRIDOUX,  FRANQOIS-EUGfiNE-AUGUSTIN 

BRIERLY,  OSAVALD  W 

BRIGHT,  HENRY 

BRILLOUIN,  LOUIS-GEORGES  

BRION,  GUSTAVE  

BRISSET,  PIERRE-NICOLAS  

BRISTOL,  EDMUND  

BRISTOL,  JOHN  BUNYAN  

BRODIE,  WILLIAM  

BRODAA^OLP,  LUDWIG  GUSTAV  EDUARD... 

BROMEIS,  AUGUST  

BROMLEY,  AVILLIAM  

BROMLEY,  VALENTINE  W 

BROOKS,  THOMAS 


Vol.  II. 
Vol.  I. 


Page  125 
Page  82 
“ 83 
“ 83 
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“ 84 
“ 84 

“ 84 
“ 85 
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“ 87 
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“ 96 
“ 96 
“ 96 
“ 97 
“ 97 
“ 97 
“ 98 
“ 98 
“ 98 
“ 98 
“ 99 
“ 99 


XIV 


NAMES  OF  ARTISTS. 


BROWN,  HENRY  KIRKE Vol,  I.  PQqC  99 

BROWN,  J.  HENRY  “ ° lOO 

BROAVN,  FORD  MADOX  “ “ lOO 

BROAVN,  J.  G “ “ 101 

BROWN,.  HENRY  B “ “ 101 

BROWN,  GEORGE  L “ “ 102 

BROWN,  J.  APPLETON  “ “ 103 

BROWN,  MRS.  AGNES  “ “ 103 

BROWN,  CHARLES  V “ “ 103 

BROAVN,  AYILLIAM  BEATTIE  “ “ 103 

BROAVN,  JOHN  LEWIS “ “ 103 

BROAVNE,  MME.  HENRIETTE  “ “ 104 

BROAVNE,  HABLOT  KNIGHT “ “ 105 

BROWNELL,  CHARLES  D.  W “ “ 105 

BROAVNING,  ROBERT  BARRETT  “ “ 105 

BROAVNSCOMBE,  JENNIE  “ “ 105 

BROZIK,  VACSLAV “ “ 106 

BRULOAV,  ALEXANDRE  “ “ 106 

BRUNET-HOUARD,  PIERRE  AUGL'STE  “ “ 106 

BRUNNOW,  LUDWIG “ “ 106 

BRUSH,  MRS.  See  CHAPLIN,  MISS  “ “ 130 

BRUYCKER,  FRANgOIS  ANTOINE  “ “ 106 

BRYANT,  HENRY  “ “ 106 

BIJNCE,  AV.  GEDNEY “ “ 107 

BUONINSEGNA,  MICHELE “ “ 107 

BURCHETT,  RICHARD “ “ 107 

BURDICK,  HORACE  R “ “ 107 

BURGER,  ADOLF  AUGUST  FERDINAND  “ “ 107 

BURGESS,  JOHN  BAGNOLD  “ “ 107 

BURKEL,  HENRI  “ “ 107 

BURLING,  GILBERT  “ “ 108 

BURNE-JONES,  EDAALYRD  “ “ 108 

BURNET,  JOHN  “ “ 109 

BURR,  JOHN " “ 110 

BURR,  ALEXANDER  H “ " 110 

BUSH,  NORTON  " “ 110 

BUSS,  ROBERT  WHLLIAM  “ “ 111 

BUTIN,  ULYSSE-LOUIS-AUGUSTE  “ “ 111 

BUTLER,  GEORGE  B.,  Jr “ “ 111 

BUTLER,  MRS.  See  TIIOAIPSON,  E AW.  II.  Page  292 

CABANEL,  ALEXANDRE  Vol.  I.  Page  111 

CABANEL,  PIERRE “ “ 112 


NAMES  OF  ARTISTS.  XV 

CABAT,  NICOLAS-LOUIS Vol.  I.  Page  112 

CABET,  JEAN-BAPTISTE-PAUL “ “ 113 

CAFFERTY,  JAMES  H “ “ 113 

CAFFI,  HIPPOLYTE  “ 113 

CAILLE,  JOSEPH-MICHEL “ “ 114 

CALAMATTA,  LUIGI  “ “ 114 

CALAMATTA,  MME.  JOSEPHINE “ “ 114 

CALAME,  ALEXANDRE “ “ 114 

CALANDRELLI,  ALEXANDER “ “ 115 

CALDERON,  PHILIP  H “ “ 113 

CALVERLEY,  CHARLES “ “ 116 

CALVI,  PIETRO  “ “ 116 

CAMBI,  ULISSE  “ “ 116 

CAMBON,  ARMAND  “ “ 116 

CAMBOS,  JULES “ “ 116 

CAMERON,  HUGH  “ “ 117 

CAMMERANO,  MICHELE “ “ 117 

CAMPHAUSEN,  GUILLAUME “ “ 117 

CAMUCCINI,  VINCENZO  “ " 117 

CANELLA,  GIUSEPPE  “ “ 117 

CARAUD,  JOSEPH  “ “ 118 

CARLIN,  JOHN  “ “ 118 

CARON,  ADOLPHE-ALEXANDRE-JOSEPH “ “ 118 

CARONI,  PROF.  EMMANUELE  “ “ 118 

CARPEAUX,  JEAN  B.iPTISTE  “ “ 119 

CARPENTER,  FRANCIS  BICKNELL “ “ 120 

CARPENTER,  MARGARET  “ “ 121 

CARPENTER,  MISS  E.  M “ “ 121 

CARRIER,  JOSEPH-AUGUSTE  “ “ 121 

CARRIER-BELLEUSE,  ALBERT  ERNEST  “ “ 122 

CARTER,  D.  M “ “ 122 

CARTERON,  EUGENE  “ “ 122 

CASILEAR,  JOHN  W “ “ 122 

CASS,  GEORGE  N “ “ 123 

CASS,  MRS.  GEORGE  N “ “ 123 

CASSAGNE,  ARMAND  THEOPHILE “ “ 123 

CASSATT,  MARY “ “ 123 

CASSIE,  JAMES  “ “ 123 

CASSIOLI,  AMOS “ “ 124 

CASTELLANO,  MANUEL  “ “ 124 

CASTIGLIONE,  GIUSEPPE  “ “ 124 

CASTRES,  fiDOUARD “ “ 124 

CATEL,  FRANZ  LOUIS “ “ 124 


XVl 


NAMES  OF  ARTISTS. 


CATLIN,  GEORGE  Vol.  I.  Page 

CATTERMOLE,  GEORGE  “ 

CATTERMOLE,  CHARLES “ 

CAVELIER,  JULES  PIERRE  “ 

CAZES,  ROMAIN “ 

CELEBRANO,  FRANCESCO  “ 

CERMAK,  JAROSLAV “ 

CHABAL-DUSSURGEY,  PIERRE-ADRIEN  “ 

CHALMERS,  G.  PAUL  “ 

CHALON,  JOHN  JAMES  “ 

CHALON,  ALFRED  EDWARD “ 

CHAMPNEY,  J.  WELLS  (“  Champ  ”)  “ 

CHAPLET,  ERNEST  “ 

CHAPLIN,  CHARLES “ 

CHAPLIN,  CHRISTINE  (MRS.  BRUSH)  “ 

CHAPMAN,  JOHN  GADSBY “ 

CHAPU,  HENRI-MICHEL-ANTOINE  “ 

CHARDIN,  PAUL-LOUIS-LEGER  “ 

CHARNAY,  ARMAND “ 

CHARRETIE,  ANNA  MARIA  “ 

CHARTRAN,  THEOBALD  “ 

CHASE,  JOHN “ 

CHASE,  WILLIAM  M “ 

CHASE,  HENRY  “ 

CHATROUSSE,  fiMILE  “ 

CHAUVEL,  THEOPHILE  “ 

CHAVET,  J.  VICTOR “ 

CHENAVARD,  PAUL  “ 

CHENEY,  SETH  “ 

CHENU,  FLEURY “ 

CHEVALIER,  N “ 

CHEVALIER.  See  GAVARNI  " 

CHIERCI,  GAETANO  “ 

CHINTREUIL,  ANTOINE  “ 

CHRISTIE,  ALEXANDER  “ 

CHURCH,  FREDERICK  E “ 

CHURCH,  F.  S “ 

CIBOT,  FRANgOIS-BARTHELEMY-MICHEL-fiDOUARD 

CLAES,  CONSTANT “ 

CLARK,  THOMAS  “ 

CLARK,  JOSEPH “ 

CLAUDE,  JEAN-AIAXIME “ 

CLAYS,  PIERRE-JEAN  “ 


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NAMES  OF  ARTISTS.  xvii 

CLfiSINGER,  JBAN-BAPTISTE-AUGUSTE  Vol,  I.  Page  140 

CLIFFORD,  E “ “ 140 

CLINT,  GEORGE  “ “ 140 

CLINT,  ALFRED  “•  “ 141 

CLODT-JURGENSBOURG,  BARON  PETER “ “ 141 

COBB,  CYRUS  “ “ 141 

COBB,  DARIUS “ “ 141 

COBBETT,  EDWARD  J “ " 142 

CODEZO,  THOMAS “ “ 142 

COGHBTTI,  FRANCESCO  “ “ 143 

COGNIET,  LEON “ “ 143 

COL,  DAVID  “ “ 143 

COLE,  THOMAS  “ 143 

COLE,  GEORGE  “ “ 144 

COLE,  VICAT  " “ 143 

COLE,  J.  FOXCROFT “ “ 145 

COLEMAN,  CHARLES  C “ “ 146 

COLIN,  ALEXANDRE-MARIE “ “ 146 

COLIN,  PAUL  “ “ 146 

COLLINGWOOD,  WILLIAM  “ “ 146 

COLLINS,  CHARLES  ALLSTON “ “ 14? 

COLLINSON,  ROBERT  “ “ 147 

COLMAN,  SAMUEL “ “ 147 

COLYER,  VINCENT “ " 148 

COMAN,  MISS  CHARLOTTE  B “ “ 149 

COMERRE,  LEON-FRANgOIS “ “ 149 

COMPTE-CALIX,  FRANgOIS  CLAUDIUS  “ “ 149 

COMTE,  PIERRE-CHARLES “ “ 150 

CONCONI,  MAUR  “ “ 150 

CONNELLY,  PIERCE  FRANCIS  “ “ 150 

CONSTANT,  BENJAMIN  “ “ 151 

CONTI,  TITO “ “ 153 

COOKE,  EDWARD  WILLIAM  “ “ 152 

COOMANS,  PIERRE-OLIVIER-JOSEPH  “ “ 153 

COOPER,  ABRAHAM “ “ 153 

COOPER,  THOMAS  S “ “ 154 

COPE,  CHARLES  WEST  “ “ 154 

COPELAND,  ALFRED  BRYANT “ “ 153 

CORBOULD,  EDWARD  H “ “ 155 

CORDIER,  HENRI-JOSEPH-CHARLES “ “ 156 

CORDONNIER,  ALPHONSE  “ “ 156 

CORMON,  FERNAND  “ “ 156 

CORNELIUS,  PETER  VON  “ “ 156 


xviii  NAMES  OF  ARTISTS. 

CORNU,  SEBASTIAN-MELCHIOR  Vol.  I.  Page  158 

COROENNE,  HENRI  “ “ 158 

COROT.  JEAN-BAPTISTE-CAMILLE “ “ 158 

CORTI,  COSTANTINO “ “ 162 

COSTA,  PIETRO  ; “ " 162 

COSTOLI,  ARISTODfiME  » “ 162 

COT,  PIERRE-AUGUSTE  “ “ 162 

COUDER,  LOUIS  CHARLES  AUGUSTE  “ “ 163 

COUDER,  JEAN-BAPTISTE-AMEDEE  " " 163 

COUDER,  ALEXANDRE-JEAN-REMY  “ “ 163 

COURBET,  GUSTAVE “ “ 163 

COURDOUAN,  VINCENT-JOSEPH-FRANQOIS  “ “ 163 

COURTAT,  LOUIS  “ “ 165 

COURTOIS,  GUSTAVE  “ “ 165 

COUSINS,  SAMUEL “ “ 165 

COUTURE,  THOMAS  “ “ 166 

COX,  DAVID “ “ 167 

COX,  DAVID,  Jr " “ 167 

CRAIG,  ISAAC  EUGENE  “ “ 167 

CRAIG,  WILLIAM  “ “ 168 

CRANCH,  CHRISTOPHER  P “ “ 168 

CRANCH,  JOHN  “ “ 169 

CRANCH,  MISS  CAROLINE  A “ “ 169 

CRANE,  WALTER  " “ 169 

CRAUK,  GUSTAVE-ADOLPHE-DESIRfi  “ “ 170 

CRAM-FORD,  THOMAS  “ “ 170 

CRAAVFORD,  AVILLIAM “ “ 171 

CRESIVICK,  THOMAS  " “ 171 

CRETIUS,  CONSTANTINE  JOHANN  FRANZ “ “ 172 

CROFTS,  ERNEST  “ “ 172 

CROMEK,  THOMAS  HARTLEY  “ “ 173 

CROPSEY,  JASPER  F “ “ 173 

CROSS,  JOHN  “ “ 174 

CROWE,  EYRE “ “ 174 

CROWNINSHIELD,  FREDERIC  “ “ 175 

CROM'QUILL.  See  FORRESTER  “ “ 262 

CRUIKSHANK,  GEORGE  “ “ 173 

CUGNOT,  LOUIS-LEON “ “ 176 

CUMMINGS,  THOMAS  SEIR  “ “ 177 

CURNOCK,  J.  JACKSON  “ “ 177 

CURRIER,  J.  FRANK “ “ 177 

CURTIS,  CALVIN  “ " 177 

CURZON,  PAUL  ALFRED  DE “ “ 177 


NAMES  OF  ARTISTS. 


xix 


DABOUR,  JOHN  

DAEGE,  EDUARD 

DAEL,  JAN  FRANZ  VAN 

DAGNAN,  ISIDORE 

DAGNAN-BOUVERET,  PASCAL-ADOLPHE-JEAN... 

DALOU,  JULES 

DAMfi,  ERNEST  

DAMERON,  EMILE  CHARLES  

DANA,  WILLIAM  P.  W 

DANBY,  FRANCIS  

DANBY,  JAMES  

DANBY,  THOMAS  

DANFORTH,  M.  I 

DANIEL,  HENRI  JOSEPH  

DANNAT,  WILLIAM  

DANTAN,  ANTOINE  LAURENT  

DANTAN,  JEAN-PIERRE  

DARGENT,  YAN  

DARLEY,  FELIX  0.  C 

DARRAH,  MRS.  S.  T 

DAUBAN,  JULES-JOSEPH  

DAUBIGNY,  CHARLES  FRANQOIS  

DAUBIGNY,  KARL  PIERRE  

DAUZATS,  ADRIEN 

DAVID  D’ANGERS,  PIERRE-JEAN  

DAVIOUD,  GABRIEL-JEAN-ANTOINE 

DAVIS,  HENRY  W.  B 

DEANE,  WILLIAM  WOOD  

DEAS,  CHARLES 

DEBAY,  JEAN-BAPTISTE-JOSEPH  

DEBAY,  AUGUSTE  HYACINTHS  

DECAISNE,  HENRY  

DECAMPS,  ALEXANDRE  GABRIEL 

DE  COCK,  XAVIER  

DE  COCK,  CESAR  

DE  CONINCK,  PIERRE 

DECORCHEMONT,  EMILE  

DEDREUX,  ALFRED  

DEFAUX,  ALEXANDRE 

DEFREGGER,  FRANZ 

DEGEORGE,  CHARLES-JEAN-MARIE 

DEGER,  ERNEST 

DE  HAAS,  WILLIAM  FREDERICK  


Vol.  I.  Page  178 

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XX 


NAMES  OF  ARTISTS. 


DE  HAAS,  M.  E.  H Vol.  I.  Page  192 

DE  HAAS,  J.  H.  L “ “ 193 

DEHODENCQ,  ALFRED “ “ 193 

DEHODENCQ,  EDMOND  “ “ 193 

DEJONGHE,  JOHN  BAPTIST “ “ 193 

DE  JONGHE,  GUSTAVE  “ “ 193 

DE  KAY,  HELENA  (MRS.  R.  WATSON  GILDER)...  “ “ 19-i 

DELABORDE,  VISCOUNT  HENRI “ “ 194 

DELACROIX,  FERDINAND-VICTOR-EUGENE  “ “ 194 

DELACROIX,  HENRI  EUGENE  “ “ 196 

DELAPLANCHE,  EUGENE  “ “ 196 

DELAROCHE,  HIPPOLYTE  “ “ 197 

DELAUNAY,  JULES  ELIE “ “ 198 

DELOBBE,  FRANQOIS-ALFRED “ “ 198 

DELORT,  CHARLES-EDOUARD “ “ 199 

DEMI,  EMILIO “ “ 199 

DENGLER,  FRANK “ “ 199 

DENNEULIN,  JULES  “ " 199 

DESCHAMPS,  LOUIS “ “ 199 

DESGOFFE,  BLAISE-ALEXANDRE “ “ 199 

DESGOFFE,  ALEXANDRE “ “ 201 

DESNOYERS,  AUGUSTE-GASPARD-LOUIS-BOUCHER  “ “ 201 

DESPREZ,  LOUIS  “ “ 201 

DETAILLE,  JEAN-BAPTISTE-fiDOUARD  " “ 201 

DEVENTER,  J.  F.  VAN “ “ 203 

DEVERIA,  EUG£NE-FRANgOIS-MARIE-JOSEPH...  “ “ 203 

DEVIGNE,  PIERRE “ “ 203 

DEVIGNE,  PAUL “ “ 203 

DEWING,  T.  W “ “ 203 

DEXTER.  HENRY  “ “ 204 

DIAZ  DE  LA  PENA,  NARCISSE-VIRGILE “ “ 204 

DICKENS,  KATE.  See  PERUGINI,  MRS Vol.  II.  Page  173 

DICKSEE,  THOMAS  F A^ol.  I.  Page  205 

DICKSEE,  FRANK  “ “ 206 

DIDAY,  FRANQOIS “ “ 206 

DIEBOLT,  GEORGES  “ “ 206 

DIEFFENBACH,  ANTON  HEINRICH  “ “ 206 

DIELMAN,  FREDERICK “ “ 207 

DIEN,  CLAUDE-M.\RIE-FRANgOIS  “ “ 207 

DIETZ,  FEODOR  “ “ 207 

DIEZ,  WILHELM “ “ 208 

DILLENS,  HENRI  “ “ 208 

DILLENS,  ADOLPHE “ “ 208 


NAMES  OF  ARTISTS.  xxi 

DILLON,  FRANK Vol.  I.  Page  208 

DIX,  CHARLES  TEMPLE “ “ 209 

DOBSON,  WILLIAM  C.  T “ “ 209 

DOCHARTY,  JAMES  “ 210 

DOLPH,  J.  H “ “ 210 

DOMINGO,  J “ “ 210 

DONALD,  JOHN  MILNE  “ 211 

DOO,  GEORGE  THOMAS  “ “ 211 

DOOLITTLE,  EDWIN  STAFFORD  “ “ 211 

DORE,  PAUL  GUSTAVE  “ “ 212 

DOUBLEMARD,  AMEDEE  DONATIEN “ “ 215 

DOUGHTY,  THOMAS “ “ 215 

DOUGLAS,  WILLIAM  FETTES  “ “ 215 

DOUGLAS,  EDWIN “ “ 216 

DOYLE,  RICHARD  “ “ 216 

DRAKE,  FRIEDRICH  JOHANN  HEINRICH  “ “ 217 

DREBER,  HEINRICH “ “ 217 

DROZ,  JULES-ANTOINE  “ “ 217 

DRUMMOND,  JAMES " “ 218 

DRURY,  J.  H “ “ 218 

DUBAN,  JACQUES-FELIX  “ “ 218 

DUBOIS,  PAUL “ “ 218 

DUBOIS,  CHARLES  E “ “ 219 

DUBRAY,  GABRIEL-VITAL “ “ 220 

DUBRAY,  CHARLOTTE  GABRIELLE  “ “ 220 

DUBRAY,  EUGENIE  GIOVANNA  “ “ 220 

DUBUFE,  CLAUDE-MARIE  “ “ 220 

DUBUFE,  Edouard “ “ 220 

DUBUFE,  GUILLAUME  “ “ 221 

DUC,  JOSEPH  LOUIS  “ “ 221 

DUCKER,  EUGENE “ “ 221 

DU-COMMUNE-DU-LOCLE.  See  DANIEL  “ “ 182 

DUFFIELD,  WILLIAM  “ “ 222 

DUFFIELD,  MRS.  WILLIAM  “ “ 222 

DUGG.YN,  PETER  PAUL  “ “ 222 

DUMAS,  MICHEL  “ “ 222 

DU  MAURIER,  GEORGE  B “ “ 222 

DUMILATRE,  ALPHONSE-JEAN  “ “ 222 

DUMONT,  AUGUSTIN-ALEXANDRE “ “ 223 

DUNCAN,  EDWARD  “ “ 223 

DUNCAN,  THOMAS “ “ 223 

DUNCAN,  WALTER “ “ 224 

DUNCAN,  ALLAN  “ “ 224 


XXll 


NAMES  OF  ARTISTS. 


DUNCAN,  LAURENCE  Vol.  1.  Page  224 

BUNKER  LtiTZOW,  KARL  HINDRICK “ “ 224 

DUPAIN,  EDMOND-LOUIS  “ “ 224 

DUPRAY,  LOUIS-HENRY “ " 224 

DUPRfi,  JULES “ “ 225 

DUPRE,  LEON  VICTOR  “ “ 225 

DUPRE,  GIOVANNI “ “ 225 

DURAN,  CAROLUS “ “ 226 

DURAND,  ASHER  B “ “ 227 

DURAND,  LUDOVIC  “ “ 227 

DURAND,  SIMON “ “ 227 

DURAND-BRAGER,  JEAN-BAPTISTE-HENRI  “ “ 228 

DURANT,  SUSAN  D “ “ 228 

DURET,  PRANCISQUE-JOSEPH “ " 228 

DURHAM,  JOSEPH “ “ 229 

DUVAL-LE-CAMUS,  PIERRE  “ " 230 

DUVAL-LE-CAMUS,  JULES-ALEXANDRE  “ “ 230 

DUVENECK,  FRANK  “ “ 230 

DUVERGER,  THEOPHILE  EMMANUEL “ “ 230 

DYCE,  ■WILLIAM “ “ 230 

DYCKMANS,  JOSEF  LAURENS  “ “ 231 

DYER,  CHARLES  GIFFORD “ “ 231 


EAKINS,  THOMAS  “ “ 232 

EARLE,  THOMAS  “ “ 232 

EASTLAKE,  SIR  CHARLES  LOCK “ “ 232 

EATON,  JOSEPH  O “ “ 233 

EATON,  M'YATT  “ “ 233 

EBERS,  EMILE “ “ 233 

ECHTERMEYER,  KARL “ “ 234 

ECKERSBERG,  JOHN  FREDERICK  “ “ 234 

EDMONDS,  FRANCIS  "SV “ “ 234 

EDMONSTON,  SAMUEL “ “ 235 

EDWARDS,  ED’WIN “ “ 235 


EGG,  AUGUSTUS  L 

EGLY,  'WILLIAM 

EHNINGER,  JOHN  5V 

EHRMANN,  FRANCOIS  EMILE 


EICIIENS,  FREDERIC  EDOUARD “ “ 237 

EICHENS,  PHILIPPE  HERMANN “ “ 237 

ELLIOTT,  CHARLES  LORING  “ “ 238 

ELMORE,  ALFRED " “ 238 

ELSHOLTZ,  LUD'WIG “ “ 239 


NAMES  OF  ARTISTS.  xxiii 

ENDER,  THOMAS  Vol.  I.  Page  239 

ENGRAND,  GEORGES “ “ 239 

ENHUBER,  CARL  VON “ “ 239 

ENNEKING,  JOHN  J “ 239 

fiPINAY,  CAVALLIERE  PROSPER  D’  “ “ 240 

ESCOSURA,  LEON  Y “ “ 240 

ETEX,  ANTOINE  “ “ 241 

ETTY,  WILLIAM “ “ 241 

EVANS,  WILLIAM  (or  Eton)  “ “ 242 

EVANS,  WILLIAM  (of  Bristol)  “ “ 242 

EVANS,  SAMUEL  T.  G “ “ 242 

EVANS,  DE  SCOTT “ “ 242 

EWALD,  ERNST  DEODAT  PAUL  FERDINAND “ “ 243 

EZEKIEL,  MOSES  JACOB “ “ 243 

FAED,  JOHN " “ 244 

FAED,  THOMAS  “ “ 244 

FAED.  JAMES  “ “ 245 

FAGERLIN,  F.  J “ “ 245 

FAHEY,  JAMES “ “ 245 

FAHEY,  EDWARD  H “ “ 246 

FALCONER,  JOHN  M “ “ 246 

FALGUIERE,  JEAN-ALEXAND RE-JOSEPH “ “ 246 

FANTACCHIOTTI,  ODOARDO  “ “ 247 

FANTIN-LATOUR,  HENRI “ “ 247 

FARRER,  HENRY “ “ 247 

FARRER,  THOMAS  C “ “ 248 

FARUFEINI,  FEDERIGO “ “ 248 

FASSETT,  C.  ADELE  “ “ 248 

FASSIN,  ADOLPHE “ “ 249 

FATTORI,  CAVALIERE  GIOVANNI  “ “ 249 

FEDI,  PIO  “ “ 249 

FELSING,  JACOB “ “ 250 

FERON,  FIRMIN-ELOI  “ “ 250 

FERRARI,  LUIGI “ “ 250 

FERRARI.  E “ “ 251 

FERRIER,  JOSEPH-MARIE-AUGUSTIN-GABRIEL...  “ “ 251 

FESQUET,  JULES “ “ 251 

FEUERBACH,  ANSELM  “ “ 251 

FEYEN-PERRIN,  FRANgOIS  NICOLAS  AUGUSTIN  “ “ 252 

FICHEL,  EUGENE  BENJAMIN  “ “ 252 

FIEDLER,  BERNHARD  “ “ 252 

FILDES,  S.  LUKE “ “ 253 


xxiv  NAMES  OF  ARTISTS. 

FILDES,  MRS.  LUKE  Vol.  I.  Page  253 

FINCH,  FRANCIS  OLIVER  “ “ 253 

FIRMIN-GIRARD.  See  GIRARD “ “ 299 

FISCHER,  AUGUST  FERDINAND  “ “ 253 

FISHER,  WILLIAM  MARK  “ “ 254 

FISK,  WILLIAM  “ “ 254 

FITCH,  JOHN  L “ “ 254 

FLAGG,  GEORGE  W “ “ 255 

FLAGG,  JARED  B “ “ 255 

FLAHAUT,  LfiON “ “ 255 

FLAMENG,  LEOPOLD “ “ 256 

FLANDIN,  EUGENE  NAPOLEON  “ “ 256 

FLANDRIN,  AUGUSTE  “ “ 257 

FLANDRIN,  JEAN  HIPPOLYTE  “ " 257 

FLANDRIN,  JEAN  PAUL  “ “ 257 

FLERS,  CAMILLE “ “ 258 

FLEURY,  LEON  “ “ 258 

FLUGGEN,  " “ 258 

FOCOSI,  ALESSANDRO  “ “ 258 

FOLEY,  JOHN  H “ “ 259 

FOLEY,  MARGARET  E “ “ 259 

FOLTZ,  PHILIPPE  “ “ 260 

FONSECA,  ANTOINE-MANOEL  da  “ “ 260 

FONTANA,  ROBERTO “ “ 260 

FONVILLE,  HORACE  “ “ 260 

FOOTE,  MARY  HALLOCK “ “ 261 

FORBES,  EDWIN “ “ 261 

FORRESTER,  ALFRED  HENRY  “ " 262 

FORSTER,  FRANCOIS “ " 262 

FORTIN,  CHARLES “ “ 262 

FORTUNY,  MARIANO “ " 263 

FOSTER,  BIRKET  “ “ 265 

FOWKE,  FRANCIS  “ “ 266 

FOWLER,  FRANK  “ “ 266 

FRACCAROLI,  INNOCENZO “ “ 266 

FRAIKIN,  CHARLES  AUGUSTE  “ “ 267 

FRANQAIS,  FRANgOIS  LOUIS “ “ 267 

FRANCIS,  JOHN  “ “ 268 

FRANgOIS,  CHARLES-REMY-JULES  ‘‘  “ 268 

FRANgOIS,  ALPHONSE “ “ 269 

FRASER,  CHARLES “ “ 269 

FRASER,  ALEXANDER  (the  Elder)  “ “ 269 

FRASER,  ALEXANDER  “ “ 269 


NAMES  OF  ARTISTS. 


XXV 


FREEMAN,  JAMES  E Vol.  I.  Page  269 

FREEMAN,  MRS.  JAMES  E “ “ 270 

FREEMAN,  FLORENCE “ “ 270 

FREESE,  JOHANN  OSKAR  HERMANN  “ , “ 270 

FREMIET,  EMMANUEL “ “ 271 

FRENCH,  DANIEL  CHESTER “ “ 271 

FRfiRE,  PIERRE  EDOUARD  “ “ 271 

FRERE,  CHARLES  THEODORE “ “ 272 

FRERE,  CHARLES-EDOUARD “ “ 273 

FRERE,  JEAN-JULES “ “ 273 

FRESCHIERI,  GIUSEPPE “ “ 273 

FRIPP,  GEORGE  ARTHUR  “ “ 273 

FRIPP,  ALFRED  D “ “ 273 

FRITH,  WILLIAM  POWELL  “ “ 274 

FROMENTIN,  EUGENE “ “ 275 

FROST,  WILLIAM  EDWARD  “ “ 276 

FRULLINI,  PROF.  CAV.  LUIGI “ “ 276 

FUHRICK,  JOSEPH “ “ 277 

FULLER,  GEORGE  “ “ 277 

FULLER,  R.  H “ “ 277 

FUNK,  HEINRICH  “ “ 278 

FURNESS,  WILLIAM  H “ “ 278 

GABRIEL,  PAUL  JOSEPH  CONSTANTINE  “ “ 278 

GAIL,  WILHELM “ “ 278 

GALE,  WILLIAM “ “ 278 

GALLAIT,  LOUIS “ “ 279 

GARDNER,  ELIZABETH  JANE  “ “ 280 

GARNERAY,  AMBROSE  LOUIS  “ “ 281 

GARNIER,  JEAN-LOUIS-CHARLES  “ “ 281 

GARTNER,  JOHANN  PHILIPP  EDUARD  “ “ 283 

GASTENEAU,  HENRY  “ “ 283 

GATTI,  ANNIBALE “ “ 283 

GAUCHEREL,  LEON  “ “ 283 

GAUERMANN,  FRIEDRICH “ “ 283 

GAUTHIER,  CHARLES  “ “ 284 

GAUTIER,  ETIENNE  “ " 284 

GAVARNI,  real  name  CHEVALLIER “ “ 284 

GAVIN,  ROBERT “ “ 286 

GAY,  W.  ALLAN “ “ 286 

GAY,  EDWARD “ “ 286 

GAY,  WALTER “ “ 287 

GEBHARDT,  KARL  FRANZ  EDUARD  VON “ “ 287 


xxvi  NAMES  OF  ARTISTS. 

GEBLER,  ERIEDRICH  OTTO  Vol.  1.  Page  287 

GEDDENS,  GEORGE  “ 288 

GEEES,  JOSEPH  “ “ 288 

GEEFS,  MME.  FANNY  “ “ 288 

GEGERFELT,  WILHELM  DE  “ “ 288 

GEIST,  AUGUST  CHRISTIAN “ “ 288 

GEMITO,  VINCENJZO  ' “ “ 289 

GENDRON,  AUGUSTE  “ “ 289 

GENELLI,  JOHANN  BONAVENTURA  “ " 289 

GENTZ,  WILHELM  KARL  “ “ 289 

GERARD,  THEODORE  “ “ 289 

GERIMSKY,  ALEXANDER “ “ 290 

GEROmE,  JEAN  LEON “ " 290 

GERRY,  SAMUEL  L “ “ 292 

GERVEX,  HENRI “ “ 292 

GEYER,  KARL  LUDWIG  OTTO “ “ 292 

GIACOMOTTI,  FELIX  HENRI “ “ 292 

GIBSON,  JOHN “ “ 292 

GIDE,  THEOPHILE “ “ 293 

GIERYMSKI,  MAX  “ “ 293 

GIFFORD,  SANDFORD  R “ “ 294 

GIFFORD,  R.  SWAIN  “ “ 295 

GIFFORD,  FANNIE  ELLIOT “ “ 296 

GIGNOUX,  REGIS  “ “ 296 

GIGOUX,  JEAN  FRANgOIS “ “ 296 

GILBERT,  SIR  JOHN “ “ 297 

GILDER,  MRS.  See  DE  KAY,  H “ “ 194 

GILES,  JAMES “ “ 298 

GILL,  EDMUND  “ “ 298 

GIRARD,  FIRMIN  “ “ 299 

GIRARDET,  KARL  “ “ 299 

GIRARDET,  EDOUARD-HENRI  “ “ 299 

GIRARDET,  PAUL  “ “ 300 

GIRAUD,  PIERRE-FRANgOIS-EUGfiNE  “ “ 300 

GIRAUD,  SEBASTIEN-CHARLES  “ “ 300 

GIRAUD,  VICTOR  “ “ 300 

GIROUX,  ANDRE “ “ 300 

GISBERT,  ANTONIO  “ “ 300 

GLAIZE,  AUGUSTE  BARTIlfiLEMY  " “ 301 

GLAIZE,  PIERRE-PAUL-LEON  “ “ 301 

GLASS,  JAMES  W^ “ “ 301 

GLEYRE,  CHARLES-GABRIEL  “ “ 302 

GODEBSKI,  CYPRIEN  “ “ 303 


NAMES  OF  ARTISTS.  xxvii 

GONZALVO,  PEREZ  PABLO  Vol.I.  Page  303 

GOOD,  THOMAS  SWORD “ “ 303 

GOODALL,  EDWARD “ “ 303 

GOODALL,  FREDERICK  “ . “ 304 

GOODALL,  WALTER  “ “ 304 

GOODALL,  EDWARD  A “ “ 304 

GORDIGIANI,  MICHELE  “ . “ 305 

GORDON,  SIR  JOHN  WATSON “ “ 303 

GOSLING,  WILLIAM  “ “ 303 

GOSSE,  NICOLAS-LOUIS-FRANgOIS “ “ 303 

GOUBIE,  JEAN-RICHARD  “ “ 306 

GOULD,  THOMAS  R “ " 306 

GOULD,  WALTER  “ “ 307 

GOUPIL,  JULES  “ “ 307 

GOW,  ANDREW  C “ “ 307 

GOWER,  LORD  RONALD  LEVESON “ “ 308 

GRAEB,  KARL-GEORG-ANTON  " “ 308 

GRAEF,  GUSTAV “ “ 308 

GRAHAM,  PETER  “ “ 309 

GRAHAM,  WILLIAM  “ “ 309 

GRAHAM,  THOMAS  “ “ 309 

GRAHAM-GILBERT,  JOHN  “ “ 310 

GRANDSIRE,  EUGENE  “ “ 310 

GRANT,  SIR  FRANCIS “ “ 310 

GRANT,  CLEMENT  R “ “ 3II 

GRASS,  PHILIPPE  “ “ 312 

GRAVES,  ROBERT  “ “ 312 

GRAY,  HENRY  PETERS  “ “ 312 

GREATOREX,  ELIZA  “ “ 313 

GREATOREX,  KATE  and  ELEANOR “ “ 314 

GREENOUGII,  HORATIO  “ “ 314 

GREENOUGH,  RICHARD  S “ “ 314 

GREUX,  GUSTAVE-MARIE  “ “ 314 

GRIGOLETTI,  MICHEL-ANGE  “ “ 313 

GRISWOLD,  C.  C “ “ 315 

GROISEILLIEZ,  MARCELLIN  DE “ “ 315 

GRONLAND,  THEUDE  “ “ 315 

GROS,  LUCIEN-ALPHONSE “ “ 315 

GROSS,  RICHARD  “ “ 315 

GROUX,  CHARLES  CORNELIUS  AUGUSTE  “ “ 316 

GRUNDMANN,  OTTO “ “ 316 

GRUNER,  GUILLAUME-HENRI-LOUIS  “ “ 316 

GRUNEWALD,  GUSTAV “ “ 316 


xxviii  NAMES  OF  ARTISTS. 

GRUYfiRB,  THEODORE-CHARLES  Vol.  T.  Page  316 

GUARNERIO,  PIETRO  “ “ 317 

GUAY,  GABRIEL “ “ 317 

GUDE,  HANS  FREDERIC “ “ 317 

GUDIN.  JEAN-ANTOINE-THEODORE  “ “ 317 

GUERARD,  EUGENE  VON  “ “ 318 

GUFFENS,  GODEFROID “ “ 318 

GUILLAUME,  JEAN-BAPTISTE-C.-E “ “ 318 

GUILLEMET.  JEAN-BAPTISTE-ANTOINE  “ “ 319 

GUILLEMIN,  ALEXANDRE-MARIE  “ “ 319 

GUILLON,  ADOLPHE  IRENEE  “ “ 319 

GUNKEL,  FRIEDRICH  " “ 319 

GUNTHER,  OTTO  EDMOND  “ “ 320 

GURLITT,  LOUIS “ “ 320 

GUSSOW,  CARL  “ “ 320 

GUTHERS,  CARL “ “ 320 

GUY,  SEYMOUR  JOSEPH “ “ 321 

GYSIS,  NICOLAS  “ “ 322 

HAAG,  CARL “ “ 322 

HAANEN,  REMI  A.  VAN “ “ 323 

HADEN,  FRANCIS  SEYMOUR “ “ 323 

HAGHE,  LOUIS  “ “ 323 

HAHNEL,  ERNST  JULES “ “ 324 

HALE,  WILLIAM  MATTHEW “ “ 324 

HALE,  SUSAN  " “ 324 

HALE,  ELLEN  DAY  " “ 325 

HALL,  GEORGE  HENRY  “ “ 325 

HALL.  SYDNEY  P “ “ 325 

HALSALL,  -WILLIAM  FORMBY “ “ 326 

HALSE,  G “ “ 326 

HALSEWELLE,  KEELEY  “ “ 326 

HAMERTON,  PHILIP  G “ “ 327 

HAMILTON,  JAMES  “ “ 327 

HAMILTON,  J.  McLURE  “ “ 327 

HAMMAN,  EDUARD-JEAN-CONRAD  “ “ 328 

HAMON,  JEAN  LOUIS “ “ 328 

HANCKE.  See  -VHEGMANN Vol.  11.  Page  350 

HANOTEAU,  HECTOR  Vol.  I.  Page  329 

HARDING,  CHESTER “ “ 330 

HARDING,  JAMES  D " “ 330 

HARD-WICK,  PHILIP “ “ 330 

HARDY,  FREDERICK  DANIEL  “ “ 331 


NAMES  OF  ARTISTS.  xxix 

HARGITT,  EDWARD  Vol.  I.  Page  331 

HARNISCH,  ALBERT  E “ “ 331 

HARPIGNIES,  HENRI  “ “ 332 

HART,  SOLOMON  ALEXANDER “ . “ 332 

HART,  JOEL  T “ “ 333 

HART,  WILLIAM “ “ 333 

HART.  JAMES  M " “ 331 

HARTLEY.  J.  S “ “ 335 

HARTZER.  KARL  FERDINAND “ " 336 

HARVEY.  WILLIAM  “ “ 336 

HARVEY,  SIR  GEORGE  “ “ 336 

HASELTINE,  WILLIAM  STANLEY “ “ 337 

HASELTINE,  HENRY  J “ “ 337 

HASEiNCLEVER,  F.  P “ “ 337 

HAUSMANN,  FREDERIC  KARL “ “ 338 

HAYES.  EDWIN  “ “ 338 

HAYEZ.  FRANCISCO  “ “ 338 

HAYLLAR.  JAMES  “ “ 338 

HAYS,  WILLIAM  J “ “ 339 

HAYTER,  SIR  GEORGE " “ 339 

HEADE,  MARTIN  J “ “ 340 

HEALY,  G.  P.  A “ “ 340 

HEAPHY,  THOMAS  “ “ 341 

HEBERT,  ANTOINE-AUGUSTE-ERNEST “ “ 341 

HEDOUIN,  EDiMOND  “ “ 342 

HEILBUTH,  FERDINAND “ “ 343 

HEIM,  FRANgOIS  JOSEPH “ “ 343 

HELFFT,  JULIUS  EDUARD  WILHELM  '<  “ 343 

HELLRATH,  E “ « 344 

HEMSLEY,  WILLIAM “ “ 344 

HENDERSON,  JOSEPH  “ “ 344 

HENNEBERG,  RUDOLF  FRIEDRICH  " “ 344 

HENNER,  JEAN-JACQUES  “ “ 343 

HENNESSY,  WILLIAM  J “ “ 343 

HENRIQUEL-DUPONT,  LOUIS  PIERRE “ “ 346 

HENRY,  EDWARD  L “ “ 343 

HERBERT,  JOHN  ROGERS “ “ 347 

HERBSTHOFFER,  CHARLES  “ “ 348 

HERDMAN,  ROBERT “ “ 343 

HEREFORD,  LAURA  “ “ 343 

BERING,  GEORGE  E “ “ 343 

HERKOMER,  HUBERT  “ » 343 

HERPIN,  LEON  “ “ 330 


XXX 


NAMES  OF  ARTISTS. 


HERRING,  JOHN  FREDERICK  Vol.  I.  Page  350 

HERRING,  JOHN  FREDERICK,  Jr “ 351 

HERTEL,  KARL  CONRAD  JULIUS  “ “ 351 

HESS,  PETER  VON “ " 351 

HESS,  HEINRICH  MARIA  “ “ 351 

HESS,  KARL  “ “ 352 

HESS,  GEORG  “ “ 352 

HESSE,  NICOLAS-AUGUSTE  “ “ 352 

HESSE,  ALEXANDRE-JEAN-BAPTISTE  " “ 353 

HEYDEN,  OTTO  JOHANN  HEINRICH  “ “ 353 

HEYDEN,  AUGUST  JACOB  THEODOR  VON “ " 353 

HICKS,  GEORGE  E " “ 353 

HICKS,  THOMAS “ “ 354 

HIDDEMANN,  FRIEDRICH  PETER " “ 354 

HILDEBRANDT,  FERDINAND  THEODOR  “ “ 354 

HILDEBRANDT,  EDUARD  “ “ 355 

HILL,  DAVID  OCTAVIUS “ “ 355 

HILL,  AMELIA  R “ “ 356 

HILL,  THOMAS  “ “ 356 

HILLEMACHER,  EUGfiNE-ERNEST  “ “ 357 

HILLIARD,  MILLIAM  HENRY  “ " 357 

HILLINGFORD,  ROBERT  ALEXANDER  “ “ 357 

HINCHLIFF,  JOHN  JAMES “ “ 358 

HINCKLEY,  THOAIAS  HEWES  “ “ 358 

HINE,  H.  G “ " 358 

HIOLLE,  ERNEST  EUGfiNE  “ “ 359 

HOCKERT,  JEAN  FREDERIC “ “ 359 

HODGSON,  JOHN  E " “ 359 

HOFF,  KARL “ " 360 

HOFFMANN,  HEINRICH  JOHANN  M.  F “ “ 360 

HOGUET,  CHARLES  “ “ 360 

HOLFLAND,  THOMAS  R “ “ 360 

HOLE,  WILLIAil “ “ 361 

HOLL,  FRANK “ “ 361 

HOLLAND,  JAAIES  “ “ 361 

HOMER,  WINSLOW  “ “ 362 

HOOK,  JAAIES  CLARKE  “ “ 363 

HOPFGARTEN,  AUGUST  FERDINAND “ “ 364 

HOPLEY,  EDWARD  W.  J “ " 364 

HOPPIN,  AUGUSTUS “ “ 364 

HOPPIN,  THO-MAS  B " “ 364 

HORSCHELT,  THEODOR  “ “ 365 

HORSLEY,  JOHN  C “ " 365 


NAMES  OF  ARTISTS.  xxxi 

HOSMER,  HARRIET  Vol.  I.  Page  366 

HOSTEIN,  EDOUARD-JEAN-MARIE “ “ 367 

HOUGHTON,  ARTHUR  BOYD “ “ 368 

HOUSTON,  JOHN  ADAM “ . “ 368 

HOVENDEN,  THOMAS  “ “ 368 

HOWLAND,  ALFRED  C “ “ 369 

HOWS,  JOHN  A “ “ 369 

HOXIE,  MRS.  See  REAM,  V Vol.  II.  Page  202 

HUBBARD,  RICHARD  W Vol.  I.  Page  369 

HUBNER,  RUDOLF-JULES-BENNO  “ “ 370 

HtiBNER,  KARL  WILHELM  “ “ 370 

HUET,  PAUL “ “ 371 

HUGHES,  BALL  “ “ 371 

HUGHES,  ARTHUR “ “ 371 

HUGUES,  DOMINIQUE-JEAN-BAPTISTE  “ “ 372 

HULME,  FREDERICK  WILLIAM  “ “ 372 

HUMBERT,  FERDINAND  “ “ 372 

HUNIN,  ALOUIS-PIERRE-PAUL  “ “ 372 

HUNT,  WILLIAM  HENRY  “ “ 372 

HUNT,  WILLIAM  MORRIS  “ “ 373 

HUNT,  WILLIAM  HOLMAN  “ “ 375 

HUNT,  RICHARD  M “ “ 373 

HUNT,  ALFRED  WILLIAM “ “ 376 

HiiNTEN,  EMIL  JOHANN  " “ 376 

HUNTER,  COLIN “ “ 377 

HUNTINGTON,  DANIEL  “ “ 377 

HURLSTONE,  FREDERICK  YEATES “ “ 378 

HUTCHISON,  JOHN  “ “ 378 

IMER,  fiDOUARD  “ “ 378 

INDUNO,  GIROLAMO “ “ 379 

INGHAM,  CHARLES  C " 379 

INGRES,  JEAN-DOMINIQUE-AUGUSTIN “ “ 379 

INJALBERT,  JE.YN-ANTONIN “ " 382 

INMAN,  HENRY  “ “ 382 

INMAN,  J.  O’BRIEN  “ “ 382 

INNESS,  GEORGE  “ “ 382 

INNESS,  GEORGE,  Jr “ “ 383 

IRMER,  KARL “ “ 383 

IRVING,  J.  BEAUFAIN “ “ 384 

ISABEY,  EUGENE-LOUIS-GABRIEL “ “ 384 

ISELIN,  HENRI-FREDERIC  " “ 384 

ISRAELS,  JOSEF “ “ 383 


XXXll 


NAMES  OF  ARTISTS. 


ITTENBACH,  FRANZ Vol.  I.  Page  385 

IVES.  C.  B “ “ 385 

JACKSON,  JOHN  ADAMS Vol.  11.  Page  I 

JACOB,  JULIUS  “ “ 3 

JACOBS,  JACQUES-ALBERT-MICHEL “ “ 3 

JACOMIN,  ALFRED-LOUIS  “ “ 4 

JACQUAND,  CLAUDIUS “ “ 4 

JACQUE,  CHARLES  EMILE “ “ 4 

JACQUEMART.  HENRI  ALFRED  “ “ 5 

JACQUEMART,  JULES  FERDINAND “ “ 5 

JACQUEMART,  MLLE.  NELIE " “ 6 

JACQUESSON  DE  LA  CHEVREUSE,  LOUIS “ “ 6 


JACQUET,  JEAN  GUSTAVE 

JADIN,  LOUIS  GODEFROY 

JADIN,  EMMANUEL  CHARLES 
JAEGER,  GUSTAV  


JALABERT,  CHARLES  FRANQOIS  “ “ 8 

JANSSEN,  PETER  JOHANN  THEODOR “ “ 8 

JAPY,  LOUIS  AIMfi  “ “ 9 

JEANNIN,  GEORGES  “ “ 9 

JEANRON,  PHILIPPE-AUGUSTE  “ “ 9 

JENKINS,  JOSEPH  J “ “ 9 

JENKS,  MRS.  PHCEBE  “ “ 9 

JERICHAU,  A “ “ 10 

JERICHAU-BAUMANN,  MME.  ELIZABETH  " “ 10 

JOBBfi-DUVAL,  FELIX “ “ 10 

JOHNSON,  HORACE  C “ “ 10 

JOHNSON,  DAVID  “ “ 11 

JOHNSON,  EASTMAN “ “ 11 

JOHNSON,  EDWARD  KILLINGWORTH  “ “ 13 

JOHNSON.  FROST  “ “ 13 

JOHNSTON,  ALEXANDER  “ “ 14 

JONES,  GEORGE “ “ 15 

JONES,  OWEN “ " 15 

JONES,  ALFRED  “ “ 15 

JONES,  H.  BOLTON  “ “ 16 

JONGKIND,  JOHAN  BARTHOLD  “ " 16 

JOORAVLEF,  F “ “ 17 

JOPLING,  JOSEPH  M “ “ 17 

JOPLING,  MRS.  LOUISE “ " 17 

JORDAN,  RUDOLF “ “ 17 

JOUFFROY,  FRANQOIS “ “ IS 


NAMES  OF  ARTISTS.  xxxiii 

JOURDAN,  ADOLPHE  Vol.  II.  Page  18 

JUNDT,  GUSTAVE  “ “ 18 

KAEMMERER,  FREDERIC  HENRI  “ . “ 18 

KALCKREDTH,  STANISLAUS,  COUNT  OF “ “ 19 

KAUFMANN,  THEODORE “ “ 19 

KAULBACH,  WILHELM  VON “ “ 19 

KAULBACH,  HERMANN  “ “ 20 

KAULBACH.  F.  A “ “ 20 

KEVIYS,  EDWARD  “ “ 21 

KENSETT,  J.  F “ “ 21 

KEY,  JOHN  R “ “ 22 

KEYMEULEN,  EMILE  “ “ 22 

KEYSER,  NICAISE  DE  “ “ 22 

KEYSER,  E “ “ 23 

KIERS,  PETER “ “ 23 

KING,  CHARLES  B “ “ 23 

KIORBOE,  CHARLES  FREDERIC “ “ 23 

KISS,  AUGUSTUS “ “ 23 

KLEIN,  JOHANN  ADAM  “ “ 24 

KLOEBER,  AUGUST  KARL  FRIEDRICH  VON “ “ 24 

KNAUS,  LUDWIG " “ 24 

KNIGHT,  JOHN  PRESCOTT  “ " 23 

KNIGHT,  DANIEL  RIDGWAY “ “ 25 

KNILLE,  OTTO  “ “ 23 

KNOWLTON,  HELEN  M " “ 23 

KNYFF,  ALFRED  DE “ “ 26 

KOCH,  JOSEPH  ANTON  “ “ 26 

KOEKKOEK,  BERNARD  CORNELIUS  “ “ 26 

KOERNER,  ERNST “ “ 26 

KOHLER,  CHRISTIAN  “ “ 27 

KOLLER,  GUILLAUME  “ “ 27 

KOLLOCK,  MARY  “ “ 27 

KORZOOCHIN,  ALEXIS “ “ 27 

KOTZEBUE,  ALEXANDER  VON  “ “ 27 

KRAUSE,  WILHELM  AUGUST  LEOPOLD  CHRISTIAN  “ “ 28 

KRONER,  CHRISTIAN  JOHANN  “ “ 28 

KRUGER,  FRANZ  ? “ “ 28 

KRUGER,  KARL  MAX  “ “ 28 

KtiHLING,  AVILHELM  " “ 28 

KUNTZ,  GUSTAV  ADOLF “ “ 29 

KUNTZE,  EDAVARD  J.  A “ “ 29 

KURZBAUER,  E “ “ 29 


XXXIV 


NAMES  OF  ARTISTS. 


KUWASSEG,  CARL-JOSEPH  Vol.  II.  Page  29 


KUYCK,  LOUIS  VAN “ “ 29 

LACROIX,  GASPARD  JEAN “ “ 29 

LA  EARGE,  JOHN  “ “ 29 

LAGUILLERMIE,  AUGUST  FREDERIC “ “ 30 

LAGYE,  VICTOR  “ “ 31 

LALANNE,  MAXIMS  “ “ 31 

L’ALLEMANDE,  FRITZ “ “ 32 

LAMBDIN,  GEORGE  COCHRAN “ “ 32 

LAMBERT,  LOUIS  EUGENE  “ “ 32 

LAMBINET,  EMILE “ “ 3.3 

LAMI,  LOUIS  EUGENE “ “ 33 

LANCE,  GEORGE “ “ 33 

LANDELLE,  CHARLES  “ “ 34 

L.YNDSEER,  JOHN  “ “ 34 

LANDSEER,  TIIOAIAS “ “ 35 

LANDSEER,  CHARLES  “ “ 35 

LANDSEER,  SIR  EDWIN “ “ 35 

LANDSEER,  GEORGE “ “ 37 

LANE,  B.  J “ “ 37 

LANG,  LOUIS  “ “ 38 

LANGERFELDT,  T.  O “ “ 38 

LANOUE,  FELIX  HIPPOLYTE “ “ 39 

LANSIL,  WALTER  F “ “ 39 

LANSYER,  EMMANUEL  " “ 39 

LAOUST,  ANDRfi-LOUIS-ADOLPHE “ “ 39 

LAPIERRE,  LOUIS  fiMILE “ “ 39 

LAPITO,  LOUIS-AUGUSTE  “ “ 40 

LAPOSTOLET,  CHARLES  “ “ 40 

LASCH,  KARL  JOHANN  “ “ 40 

LATHROP,  FRANCIS “ “ 40 

LATOUCHE,  LOUIS “ “ 40 

LAUDER,  ROBERT  SCOTT  “ “ 40 

LAUDER,  JAMES  E “ “ 41 

LAUGEE,  FRANCOIS  DESIRE “ “ 41 

LAUNITZ,  ROBERT  E “ “ 41 

LAURENS,  JEAN  PAUL  “ “ 42 

LAUTERS,  PAUL “ “ 43 

LAWMAN,  JASPER “ “ 43 

LAAVRIE,  ALEXANDER “ “ 43 

LAAVSON,  CECIL  G “ “ 44 

LAWSON,  AVILFRID  “ “ 44 


NAMES  OF  ARTISTS.  xxxv 

LAY,  OLIVER  INGRAHAM Vol.  11.  Page  45 

LAZERGES,  JEAN  RAYMOND  HIPPOLYTE  “ “ 45 

LEADER,  BENJAMIN  WILLIAM  “ “ 46 

LE  BLANT,  JULIEN  “ • “ 46 

LECHESNE,  AUGUSTE  “ “ 46 

LE  CLEAR,  THOMAS “ “ 46 

LECOMTE  DU  NOUY,  JULES  JEAN  ANTOINE  ...  “ “ 47 

LECOMTE-VERNET,  CHARLES-HIPPOLYTE-fiMILE  “ “ 47 

LEE,  FREDERICK  RICHARD “ “ 47 

LEECH,  JOHN  “ “ 48 

LEFEBVRE,  CHARLES  “ “ 49 

LEFEBVRE,  JULES  JOSEPH  “ “ 49 

LEFUEL,  HECTOR  MARTIN  “ “ 49 

LEGROS,  ALPHONSE “ “ 50 

LEHARIVEL-DUROCHER,  VICTOR  EDMOND  “ “ 51 

LEHMANN,  CHARLES  ERNEST  RODOLPHE  HENRI  “ “ 52 

LEHMANN,  RUDOLF “ “ 53 

LEHOUX,  PIERRE-ADRIEN-PASCAL  “ “ 53 

LEIBL,  H.  W “ “ 53 

LEIGHTON,  FREDERICK  “ “ 54 

LEITCH,  W.  L “ “ 55 

LE  JEUNE,  HENRY  “ “ 55 

LB  KEUX,  HENRY “ " 55 

LELAND,  HENRY  “ “ 56 

LELBUX,  ADOLPHE  “ “ 56 

LELEUX,  ARMAND “ “ 57 

LELOIR,  JEAN  BAPTISTE  AUGUSTE “ “ 57 

LELOIR,  ALEXANDRE  LOUIS  “ “ 57 

LELOIR,  MAURICE “ “ 57 

LEMAIRE,  PHLLIPPE-HENRI  “ “ 57 

LEMAIRE,  HECTOR  “ “ 57 

LEMATTE,  JACQUES-FRANgOIS-FERNAND “ “ 58 

LENBACH,  FRANZ  » “ 58 

LENEPVEU,  JULES-EUGENB  “ “ 58 

LEPIC,  LUDOVIC-NAPOLfiON  “ “ 59 

LEQUESNE,  EUGENE-LOUIS  “ “ 59 

LE  ROUX,  CHARLES-MARIE-GUILLAUME  “ “ 59 

LE  ROUX,  HECTOR  , “ “ 59 

LE  ROUX,  EUGENE  ! “ " 60 

LESLIE,  CHARLES  ROBERT  “ “ 60 

LESLIE,  GEORGE  D “ “ 61 

LESLIE,  ROBERT  C “ “ 62 

LESSING,  CHARLES  FREDERIC  “ “ 62 


XXXVl 


NAMES  OF  ARTISTS. 


LEU,  AUGUST  WILHELJ!  Vol.  II.  Page 

LEUTZE,  EMMANUEL  

LfiVY,  EMILE  

levy,  HENRI  LEOPOLD 

LEWIS,  JOHN  FREDERICK 

LEWIS,  FREDERICK  C 

LEAVIS,  EDMONIA  

LEYS,  BARON  JEAN  AUGUSTE  HENRI  

LIER,  ADOLF  

LIMA,  VICTOR  MEIRELLES  DE  

LINDENEHER,  EDOUARD  

LINDENSCHMIT,  AVILHELM  

LINDHOLAI,  B 

LINNELL,  JOHN 

LINNELL,  JAAIES  THOAIAS  

LINNELL,  AVILLIAM 

LINTON,  WILLIAAI  

LINTON,  WILLIAM  JAMES 

LINTON,  MRS 

LINTON,  JAMES  D 

LIPARINI,  LUDOVICO  

LIPPINCOTT,  AVILLIAAI  H 

LLOYD,  THOMAS  

LOCKHART,  W.  E 

LOEFFTZ,  LUDAVIG 

LOISON,  PIERRE 

LOAIBARDINI,  GAETANO 

LONG,  EDAVIN 

LONGFELLOAA^  ERNEST  W" 

LOOP,  HENRY  A , “ 

LOOP,  MRS.  HENRY  A 

LOOSE,  BASILE  DE  

LOSSOAA^  ARNOLD  HERMANN  

LOSSOW,  FRIEDRICH  

LOUGH,  JOHN  GRAHAAI 

LOUVRIER  DE  LAJOLAIS,  JACQUES-A.-G 

LOAAL  AVILL  H 

LUCAS,  JOHN  

LUCCARDI,  VINCENZO 

LUCY,  CHARLES 

LUMINAIS,  fiVARISTE-VITAL  

LUNDGREN,  EGRON  

LUNT.  See  MRS.  AVILLIAMS  


6.3 

63 

64 

65 

65 

66 

66 

67 

68 

68 

68 

69 

69 

69 

70 

70 

70 

71 

71 

72 

72 

72 

72 

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73 

73 

73 

73 

74 

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75 

76 

76 

76 

76 

76 

76 

77 

7 1 

1 1 

78 

78 

354 


NAMES  OF  ARTISTS.  xxxvii 

LUPTON,  THOMAS  GOFF Vol.  II.  Page  78 

LYNN,  SAMUEL  FERRIS “ “ 78 

MACALLUM,  HAMILTON “ ’ “ 79 

MACBETH,  NORMAN “ “ 79 

MACBETH,  R.  W “ “ 79 

MACBETH,  JAMES “ “ 79 

MAC  CALLUM,  ANDREW “ “ 80 

MACCARI,  CESARE  “ “ 80 

MAC  CULLOCH,  HORATIO “ “ 81 

MAC  DONALD,  JAMES  WILSON  ALEXANDER  ...  “ “ 81 

MAC  DOWELL,  PATRICK “ “ 83 

MACDOWELL,  SUSAN  HANNAH  “ “ 82 

MAC  LEAY,  KENNETH “ “ 83 

MACLISE,  DANIEL “ “ 82 

MAC  NEE,  SIR  DANIEL “ “ 83 

MACY,  W.  S “ “ 84 

MADOU,  JEAN  BAPTISTE  “ “ 84 

MADRAZO,  DON  FREDERIC  MADRAZO  Y KUNT  “ “ 85 

MADRAZO,  LOUIS  “ “ 85 

MADRAZO,  RICARDO “ “ 85 

MAGAUD,  DOMINIQUE  ANTOINE  “ “ 85 

MAGNI,  PIETRO  “ “ 85 

MAGNUS,  EDUARD “ “ 85 

MAGRATH,  WILLIAM  “ “ 86 

MAIGNAN,  ALBERT  “ “ 86 

MAILLET,  JACQUES  LEONARD  “ “ 86 

MAINDRON,  fiTIENNE-HIPPOLYTE “ “ 86 

MAISIAT,  JOANNY “ “ 87 

MAKART,  HANS  “ “ 87 

AIALCHIN,  CARL  WILHELM  CHRISTIAN  “ " 89 

MANCINELLI,  GIUSEPPE “ “ 89 

MANCINI,  ANTOINE “ “ 89 

MANET,  fiDOUARD “ “ 89 

MANN,  J.  H.  S “ “ 90 

MANSON,  GEORGE , “ “ 90 

MARC,  JEAN-AUGUSTE  “ “ 90 

MARCELLIN,  JEAN-ESPRIT  “ “ 90 

MARCHAL,  CHARLES  FRANQOIS “ “ 91 

MARCHESI,  POMPEO  “ “ 91 

MARCHESI,  SALVATORE " “ 91 

MARECHAL,  CHARLES-LAURENT  “ “ 92 

MARILHAT,  PROSPER “ “ 92 


xxxviii  NAMES  OF  ARTISTS. 

MARIS,  JACQUES  Vol.  11.  Page  93 

MARIS,  MATTHIAS  “ “ 93 

MARKS,  HENRY  STACY  “ “ 93 

MAROCHETTI,  BARON  CHARLES  “ “ 94 

MARSHALL,  CHARLES “ “ 94 

MARSHALL.  WILLHVM  C “ “ 93 

MARSHALL,  ROBERT  ANGELO  KITTERMASTER  “ “ 96 

MARSHALL,  THOMAS  W “ “ 96 

MARSTRAND,  WILLIAM  NICOLAS  “ “ 96 

MARTIN,  HOMER  D “ “ 96 

MARTINEAU,  ROBERT  B “ “ 97 

MARTINET,  ACHILLE-LOUIS “ “ 97 

MARZAROLI,  CRISTOFORO “ “ 97 

MASINI,  GIROLAMO “ “ 97 

MASON,  GEORGE  H “ “ 97 

MASSALOFF,  NICOLAS “ “ 98 

MATEJKO,  JEAN  ALOYSIUS  “ “ 98 

MATHIEU,  LAMBERT  JOSEPH “ “ 99 

MATOUT,  LOUIS “ “ 99 

MATTESON,  TOMPKINS  H “ “ 99 

MAURETA,  GABRIEL “ “ 100 

MAUVE,  ANTON  “ “ 100 

MAX,  GABRIEL  “ “ 100 

MAY,  EDWARD  HARRISON  “ “ 100 

MAYER,  fiTIENNE-FRANQOIS-AUGUSTE  “ “ 101 

MAYER,  KARL “ “ 101 

MAYER,  EDUARD  “ “ 102 

MAYER,  FRANK  B “ “ 102 

MAYER,  CONSTANT  “ “ 102 

MAYER,  LIEZEN “ “ 103 

MAYNARD,  GEORGE  W “ “ 103 

McCORD,  G.  HERBERT “ “ lOJ 

McENTEE,  JERVIS “ “ 104 

M'DONALD,  JOHN  B “ “ 105 

MEADE,  LARKIN  G “ “ 106 

MEISSONIER,  JEAN  LOUIS  ERNEST “ “ 106 

MEISSONIER,  JEAN  CHARLES “ “ 109 

MELBYE,  ANTOINE  “ 109 

MfiLINGUE,  LUCIEN “ “ 110 

MENE,  PIERRE-JULES “ “ 110 

MENZEL,  ADOLF-FREDERIC-ERDMANN  “ “ 110 

MERCADE,  BENITO  “ “ HI 

MERCIE,  MARIUS-JEAN-ANTOINE “ “ 111 


NAMES  OF  ARTISTS. 


xxxix 


MERLE,  HUGUES  Vol.  II.  Page  111 

MERLE,  GEORGES  “ “ 112 

MERSON,  LUC-OLIVIER  “ 112 

MERYON,  CHARLES  “ . “ 112 

MESDAG,  HENDRIK-WILLEM  “ “ 112 

MEYER,  ERNEST “ “ 113 

MEYER,  JEAN-LOUIS-HENRI " “ 113 

MEYER,  JEAN  GEORGES  (MEYER  VON  BREMEN)  “ “ 113 

MEYERHEIM,  FREDERIC-EDUARD  “ “ 113 

MEYERHEIM,  PAUL  FRIEDRICH “ “ 114 

MEYNIER,  CHARLES “ “ 114 

MEYNIER,  JULES  JOSEPH “ “ 114 

BITCHEL,  ERNEST-BARTHELEMY “ “ 114 

MIGLIORETTI,  PASCAL  “ “ 114 

MIGNOT,  LOUIS  R “ “ 114 

MILLAIS,  JOHN  EVERETT “ “ 115 

MILLER,  ALFRED  J “ “ 116 

MILLER,  CHARLES  H “ “ 117 

MILLET,  JEAN-FRANgOIS  “ “ 117 

MILLET,  AIMS , “ “ 120 

MILLET,  FRANCIS  D “ “ 121 

MILLS,  CLARK “ “ 121 

MILMORE,  MARTIN  “ “ 122 

MINARDI,  TOMMASO “ “ 122 

MINOR,  ROBERT  C “ “ 123 

MINTROP,  THEODOR  “ “ 123 

M'K.YY,  WILLIAM  D “ “ 123 

MOLTENI,  GIUSEPPE  “ “ 124 

MONCHABLON,  XAVIER  ALPHONSE “ “ 124 

MONTAGNY,  ETIENNE “ “ 124 

MONTALBA,  CLARA  “ “ 124 

MONTEVERDE,  GIULIO  “ “ 124 

MONVEL,  LOUIS-MAURICE  BOUTET  DE “ “ 125 

MOONEY,  EDWARD  “ “ 125 

MOORE,  GEORGE  B “ “ 125 

MOORE,  ALBERT “ “ 125 

MOORE,  HENRY “ “ 126 

MOORE,  H.  HUMPHREY “ “ 127 

MORAN,  EDWARD  “ “ 127 

MORAN,  THOMAS  “ “ 128 

MORAN,  PETER  “ “ 129 

MOREAU,  MATHURIN  “ “ 130 

MOREAU,  MATIIURIN-AUGUSTE  “ “ 130 


xl  NAMES  OF  ARTISTS. 

MOREAU,  ADRIEN Vol.  11.  Page  130 

MOREAU,  GUSTAVE  “ “ 130 

MOREAU-VAUTHIER,  AUGUSTIN  JEAN “ “ 130 

MORELLI,  DOMENICO “ “ 130 

MORGAN,  WILLIAM  “ “ 131 

MORGAN,  MATTHEW  (“Matt”)  “ “ 131 

MORIN,  ERANgOIS-GUSTAVE  “ “ 132 

MOROT,  AIME-NICOLAS “ “ 132 

MORRELL,  IMOGENE  ROBINSON “ “ 132 

MORRIS,  P.  R “ “ 132 

MORSE,  SAMUEL  F.  B “ “ 133 

MORSE,  HENRY  D “ “ 133 

MORTEMART-BOISSE,  ENGUERRAND  BARON  DE  “ “ 133 

MOSER,  KARL  ADALBERT “ “ 133 

MOSS,  ELLA  A “ “ 134 

MOUCHOT,  LOUIS  “ “ 134 

MOULIN,  HIPPOLYTE  “ “ 134 

MOUNT,  SHEPARD “ “ 134 

MOUNT,  WILLIAM  S “ “ 134 

MOZIER,  JOSEPH  “ “ 135 

M‘TAGGART,  WILLIAM “ “ 133 

MUCKE,  HEINRICH  KARL  ANTON  “ “ 135 

MULLER,  CHARLES-LOUIS “ “ 135 

MULLER,  CARL  “ “ 136 

MULLER,  VICTOR “ “ 137 

MULREADY,  AVILLIAM “ “ 137 

MULVANY,  GEORGE  F “ “ 138 

MUNKACSY,  MIHALY  “ “ 138 

MUNN,  GEORGE  F “ " 138 

MUNRO,  ALEXANDER  “ “ 138 

MUNZIG,  G.  C “ “ 139 

MURRAY,  ELIZABETH  “ “ 139 

MURRAY,  DAVID  “ “ 139 

MUSIN,  FRANgOIS “ “ 139 

MUSSINI,  CESARE  “ “ 140 

MUSSINI,  LUIGI “ “ 140 

MUTRIE,  MARTHA  D “ “ 140 

MUTRIE,  ANNIE  F “ “ 140 

M'WHIRTER,  JOHN  “ “ 140 

NAFTEL,  PAUL  J “ “ 141 

NAISH,  JOHN  GEORGE  “ “ I4l 

NAKKEN,  W.  C “ “ 142 


NAMES  OF  ARTISTS.  xli 

NANTEUIL,  CELESTIN Vol,  11.  Page  142 

NASH,  JOSEPH  “ “ 142 

NAST,  THOMAS  “ “ 143 

NAVEZ,  FRANgOIS  JOSEPH  “•  “ 143 

NEAGLE,  JOHN  “ “ 144 

NEAL,  DAVID  “ “ 144 

NEFF,  TIMOLEON  CHARLES  DE “ “ 145 

NEHLIG,  VICTOR  “ “ 145 

NEMOZ,  JEAN-BAPTISTE-AUGUSTIN “ “ 146 

NEUBER,  FRITZ  “ “ 146 

NEUVILLE,  ALPHONSE  DE  “ “ 146 

NEWELL,  HUGH “ “ 147 

NEWMAN,  HENRY  R “ “ 147 

NEWTON,  SIR  WILLIAM  JOHN  “ “ 148 

NEWTON,  MRS.  CHARLES  T “ “ 148 

NEWTON,  ALFRED  P “ “ 148 

NEVIN,  BLANCHE  “ “ 149 

NICOL,  ERSKINE  “ “ 149 

NICOLL,  J.  C “ “ 149 

NIEMAN,  EDMUND  JOHN  “ “ 150 

NIEMEYER,  JOHN  H “ “ 150 

NIERKER.  See  ALCOTT,  MISS  MAY  Vol.  I.  Page  7 

NITTIS,  GIUSEPPE  DE Vol.  11.  Page  151 

NOBAS,  ROSBNDO  “ “ 151 

NOBLE,  MATTHEW  “ “ 151 

NOEL,  EDME-AN'L'ONY-PAUL “ “ 151 

NORTON,  WILLIAM  E “ “ 153 

OAKES,  JOHN  WRIGHT  “ " 153 

OAKEY,  MARIA  R “ " 152 

O’CONNELL,  MME.  FREDERIC-EMILIE-A.-M “ “ 153 

O’DONOVAN,  WILLIAM  R “ “ 153 

OGILVIE,  CLINTON  “ “ 154 

OLIVA,  ALEXANDRE-JOSEPH  “ “ 154 

OLIVIB,  LEON “ “ 154 

O’NEIL,  HENRY  “ “ 154 

O’NEIL,  G.  B “ “ 154 

ORCHARDSON,  WILLIAM  Q, “ “ 155 

ORDWAY,  ALFRED “ “ 156 

OSBORN,  MISS  E.  M “ “ 156 

OUDINE,  EUGfiNE-ANDRE “ “ 156 

OUDINOT,  ACHILLE  FRANgOIS  “ “ 156 

OULESS,  WALTER  WILLIAM “ “ 157 


xlii  NAMES  OF  ARTISTS. 

OUVRifi,  PIERRE  JUSTIN  Vol.  II.  Page  157 

OVERBECK,  FRIEDRICH “ “ 157 

PABST,  CAMILLE  ALFRED “ “ 159 

PAGE,  WILLIAM “ “ 159 

PALIZZI,  JOSEPH  “ “ 160 

PALMAROLI,  VICENTE “ “ 160 

PALMER,  SAMUEL “ “ 161 

PALMER,  ERASTUS  D “ “ 161 

PALMER,  IV ALTER  L “ “ 162 

PAMPALONI,  LUIGI  “ “ 162 

PAPE,  EDUARD  FRIEDRICH “ “ 163 

PARIS,  CAMILLE “ “ 163 

PARKER,  JOHN  A “ “ 163 

PARKER,  EDGAR “ " 163 

PARMENTIER,  LUISA  VON “ “ 164 

PARROT,  PHILIPPE  “ “ 164 

PARSONS,  CHARLES “ “ 164 

PARTON,  ARTHUR “ “ 164 

PARTON,  ERNEST  “ “ 165 

PASINI,  ALBERTO “ " 165 

PASSINI,  LUDWIG “ “ 165 

PATON,  SIR  NOEL “ “ 166 

PATON,  WALLER  H “ “ 166 

PATROIS,  ISIDORE “ “ 167 

PATTEN,  GEORGE  “ “ 167 

PATTEN,  ALFRED  FOWLER  “ “ 167 

PAUWELS,  WILLIAM  F “ “ 167 

PAZZI,  ENRICO  “ “ 168 

PEALE,  REMBRANDT  " “ 168 

PEALE,  SARA  M " “ 169 

PEARCE,  CHARLES  SPRAGUE  “ “ 169 

PEDUZZI,  REN.ATO “ “ 169 

PEELE,  JOHN  T “ “ 169 

PEIFFER,  AUGUSTE-JOSEPH “ “ 170 

PEINTE,  HENRI  “ “ 170 

PELLEGRIN,  LOUIS  ANTOINE  VICTOR  “ “ 170 

PELOUSE,  LOUIS  GERAIAIN  “ “ 170 

PENLEV,  AARON  EDWIN  “ “ 170 

PENNE,  CHARLES  OLIVIER  DE  “ “ 170 

PENNETHORNE,  SIR  JAMES “ “ 171 

PEREDA,  RAIMONDO  “ “ 171 

PERIGAL,  ARTHUR  “ “ 171 


NAMES  OF  ARTISTS.  xliii 

PfiRIGNON,  ALEXIS  Vol.  II.  Page  171 

PERKINS,  CHARLES  C “ “ 171 

PERRAUD,  JEAN  JOSEPH  “ “ 172 

PERRAULT,  LEON  “ . “ 172 

PERRET,  AIME  “ “ 173 

PERRY,  E.  WOOD  “ “ 173 

PERRY,  lONE  “ “ 174 

PERRY,  JOHN  D “ “ 174 

PERUGINI,  CHARLES  EDWARD  “ “ 175 

PERUGINI,  MRS.  C.  E.  (KATE  DICKENS) “ “ 175 

PESENTI,  DOMENICO  “ “ 176 

PETERS,  ANNA  “ “ 176 

PETERSEN,  JOHN  E.  C “ “ 176 

PETRI,  HEINRICH “ “ 176 

PETTENKOFEN,  AUGUSTE  “ “ 176 

PETTIE,  JOHN “ “ 177 

PEYROL.  See  BONHEUR,  JULIETTE  Vol.  I.  Page  74 

PFUHL,  JOHANNES  Vol.  II.  Page  178 

PHELPS,  W.  P “ “ 178 

PHILIPPOTEAUX,  FELIX-ExMMANUEL-HENRI  ...  “ “ 178 

PHILLIP,  JOHN  “ “ 179 

PICKERSGILL,  HENRY  W “ “ 179 

PICKERSGILL,  HENRY  H «'  “ 180 

PICKERSGILL,  FREDERICK  R “ “ 180 

PICKNELL,  W.  L “ “ iso 

PICOT,  FRANgOIS-EDOUARD “ “ 180 

PIETRASANTA,  ANGELO “ “ 181 

PILLE,  HENRI « “ i8i 

PILOTY,  CARL  THEODOR  VON  “ “ 181 

PILS,  ISIDORE  ALEXANDRE  AUGUSTIN “ “ 183 

PILE,  VINCENZ  « « 1S4 

PINWELL,  GEORGE  JOHN “ “ is.j 

PLACE,  HENRI  “ “ i85 

PLASSAN,  ANTOINE  £MILB  “ “ 185 

PLASSMAN,  ERNEST •<  “ 185 

PLOCKHORST,  BERNHARD “ “ 186 

POINTELIN,  AUGUSTE-EMM.4NUEL  “ “ 186 

POITTEVIN,  EUGENE  LE “ “ 186 

POLL.YSTRINI,  ENRICO  “ “ 186 

POOLE,  PAUL  FALCONER  “ “ 186 

PORCELLl,  ANTONIO  “ “ 187 

PORTAELS,  JEAN  FRANgOIS  “ “ 187 

PORTER,  BENJAMIN  CURTIS  “ “ 188 


xliv  NAMES  OF  ARTISTS. 

POTT,  L.  J Vol.  II.  Page  188 

POWELL,  WILLIAM  H “ “ 189 

POWERS,  HIRAM  “ “ 189 

POWERS,  PRESTON  “ “ 190 

POWERS,  LONGWORTH  “ “ 191 

POYNTER,  EDWARD  J “ “ 191 

POZZI,  FRANCESCO  “ “ 192 

PR.4D1LLA,  F “ “ 192 

PRATIRE,  EDMOND  DE  “ “ 192 

PREAULT,  ANTOINE-AUGUSTIN  “ “ 192 

PRELLER,  FRIEDRICH  JOHANN  C.  E “ “ 193 

PREYER,  JOHANN  WILHELM  “ “ 193 

PRINCETEAU,  RENE " “ 194 

PRINSEP,  VALENTINE  C “ “ 194 

PRIOU,  LOUIS “ “ 194 

PROBST,  KARL  “ “ 195 

PROTAIS,  PAUL  ALEXANDRE  “ “ 195 

PROUT,  SAMUEL “ “ 196 

PUGIN,  EDWARD  W “ “ 196 

PUVIS  DE  CHAVANNES,  PIERRE  “ “ 196 

PYE,  JOHN  “ “ 197 

PYNE,  JAMES  B “ “ 197 

QUARNSTROM,  CARL  GUSTAV “ “ 197 

QUARTLEY,  ARTHUR “ “ 198 

RAABE,  JOSEPH “ “ 198 

RADCLYFFE,  EDWARD “ " 198 

RADFORD,  EDWARD “ “ 198 

RAFFET,  DENIS-AUGUSTE-MARIE  “ “ 199 

RAHL,  CHARLES “ “ 200 

RAJON,  PAUL-ADOLPHE “ “ 200 

RAMSAY,  MILNE “ “ 200 

RANKLEY,  ALFRED  “ “ 200 

RANVIER,  VICTOR  JOSEPH  “ “ 201 

RAPIN,  ALEXANDRE “ “ 201 

RAVEN,  J.  S “ “ 201 

READ,  THOMAS  BUCHANAN “ “ 201 

REAM,  VINNIE  (MRS.  HOXIE) “ “ 202 

REDGRAVE,  RICHARD  “ “ 202 

REED,  HELEN “ “ 203 

REGNAULT,  ALEXANDRE-GEORGES-HENRI  “ " 203 

REID,  GEORGE  “ “ 204 


NAMES  OF  ARTISTS.  xlv 

REID,  ARCHIBALD  D Vol.II.  Page  205 

REINHART,  BENJAMIN  FRANKLIN  “ “ 205 

REINHART,  CHARLES  S “ “ 206 

REINHERZ,  CONRAD “ • “ 206 

RETHEL,  ALFRED  “ “ 206 

REUSCH,  FRIEDRICH  “ “ 207 

REVIERB,  BRITON “ “ 207 

RHOMBERG,  HANNO “ “ 207 

RIBERA,  CARLOS  LOUIS “ “ 207 

RICARD,  GUSTAVE “ “ 207 

RICHARDS,  T.  ADDISON “ “ 208 

RICHARDS,  WILLIAM  T “ “ 209 

RICHARDS,  ORREN  C “ “ 210 

RICHARDSON,  T.  M “ “ 210 

RICHET,  LEON  “ “ 210 

RICHMOND,  GEORGE  “ “ 21 1 

RICHOMME,  JULES  “ “ 211 

RICHTER,  ADRIEN-LOUIS  “ “ 21 1 

RICHTER,  GUSTAV “ “ 21 1 

RIEDEL,  AUGUST  “ “ 212 

RIEFSTAHL,  WILHELM  LUDWIG  FRIEDRICH  ...  “ “ 212 

RIESENER,  LOUIS-ANTOINE-LEON  “ “ 212 

RIMMER,  WILLIAM  “ “ 212 

RINEHART,  WILLIAM  HENRY “ “ 213 

RITCHIE,  ALEXANDER  H “ “ 213 

RIVALTA,  AUGUSTO  “ “ 213 

ROBBE,  LOUIS-MARIE-DOiMINIQUE-ROMAIN “ “ 214 

ROBBE,  HENRI  “ “ 214 

ROBBINS,  HORACE  W “ “ 214 

ROBER,  ERNST  " “ 214 

ROBER,  FRITZ “ “ 215 

ROBERT,  LEO  PAUL “ “ 215 

ROBERT-FLEURY,  JOSEPH-NICOLAS “ “ 215 

ROBERT-FLEURY,  TONY “ “ 215 

ROBERTS,  DAVID  “ “ 215 

ROBERTS,  EDWARD  J “ “ 216 

ROBERTS,  THOMAS  “ “ 217 

ROBERTS,  HOWARD “ “ 217 

ROBIE,  JEAN-BAPTISTE “ “ 217 

ROBINSON,  JOHN  HENRY “ “ 217 

ROBINSON,  THOMAS “ “ 218 

ROBINSON,  I.  See  MORRELL  Vol.  I.  Page  132 

RODAKOWSKI,  HENRI Vol.II.  Page218 


xlvi 


NAMES  OF  ARTISTS. 


ROGERS,  RANDOLPH  Vol.  II.  Page  218 

ROGERS,  JOHN  “ “ 219 

ROGERS,  FRANK  WHITING  “ “ 220 

ROLFE,  H.  L “ “ 220 

ROLL,  ALFRED-PHILIPPE  “ “ 220 

ROMANELLI,  P “ “ 220 

ROMBERG,  ARTHUR  GEORG “ “ 221 

RONNER,  MME.  HENRIETTE “ “ 221 

RONOT,  CHARLES  “ “ 221 

ROQUEPLAN,  JOSEPH-fiTIENNE-CAMILLE “ “ 221 

ROSALES,  EDOUARD " “ 221 

ROSEN,  GEORGE,  COUNT  VON “ “ 222 

ROSENTHAL,  TOBY  E " “ 222 

ROSIER,  AMEDEE  “ “ 222 

ROSS,  SIR  WILLIAM “ ' " 222 

ROSS,  ROBERT  THORBURN  “ “ 223 

ROSS,  ALFRED “ “ 223 

ROSSEELS,  JACQUES “ “ 223 

ROSSETTI,  DANTE  GABRIEL “ “ 223 

ROSS  ITER,  THOMAS  P “ “ 224 

ROSSITER,  CHARLES “ “ 224 

ROSSITER,  MRS.  CHARLES  “ “ 225 

ROTH,  CHRISTIAN “ *'  225 

ROTHERMEL,  PETER  F “ “ 225 

ROUSSEAU,  PHILIPPE “ “ 226 

ROUSSEAU,  THEODORE  “ " 226 

ROWBOTHAM,  THOMAS  L “ “ 227 

ROWSE,  SAMUEL  W “ “ 227 

RUBIO,  LOUIS “ “ 227 

RUDDER,  LOUIS-HENRI  DE “ 228 

RUSKIN,  JOHN  “ “ 228 


SAIN,  fiDOUARD-ALEXANDRE  " “ 230 

SAINT-G AUDENS,  AUGUSTUS “ “ 230 

SAINTIN,  JULES  fiMILE “ “ 231 

SAINT-JEAN,  SIMON “ “ 231 

SALENTIN,  HUBERT “ “ 231 

S.A.LMSON,  HUGO " " 231 

SALTER,  WILLIAM “ “ 231 

SAND,  MAURICE  (DUDEVANT) “ “ 232 

S.\NDERSON,  CHARLES  ‘WESLEY “ “ 232 

S.ANDYS,  FREDERICK  K “ " 232 

SANGSTER,  SAMUEL “ “ 233 


names  of  artists.  xlvii 

SANGUINETTI,  ERANCESCO  Vol.  II.  Page  233 

SANSON,  JUSTIN-CHRYSOSTOME “ “ 233 

SANT,  JAMES  “ “ 233 

SANTARELLI,  EMILIO  “ . “ 234 

SARGENT,  JOHN  S “ “ 234 

SARROCCHI,  TITO  “ “ 234 

SARTAIN,  JOHN  “ “ 235 

SARTAIN,  WILLIAM  “ “ 235 

SARTAIN,  EMILY  " “ 236 

SATTERLEB,  WALTER  “ “ 236 

SAUX,  DE.  See  BROWNE,  MME.  H Vol.  I.  Page  104 

SCARAMUZZA,  FRANCESCO  Vol.  II.  Page  237 

SCHADOW,  FRIEDRICH  WILHELM “ “ 237 

SCHAMPHELEER,  EDMOND  DE  “ “ 237 

SCHAES,  PROF.  FERDINAND “ “ 237 

SCHEFFER,  ARY  “ “ 237 

SCHELFHOUT,  ANDREW “ “ 239 

SCHENCK,  AUGUST-FREDERIC-ALBRECHT “ “ 239 

SCHENDEL,  PETRUS  VAN  " “ 240 

SCHETKY,  JOHN  CHRISTIAN  “ “ 241 

SCHIEVELBEIN,  FRIEDRICH  ANTON  HERMANN  “ “ 241 

SCHILLING,  JOHANNES  “ “ 241 

SCHINKEL,  KARL  FRIEDRICH “ “ 241 

SCHIRMER,  GUILLAUME “ " 242 

SCHLEICH,  EDUARD “ “ 242 

SCHLESINGER,  HENRI  GUILLAUME  “ “ 242 

SCHLOESSER,  KARL “ “ 242 

SCHMID,  MATTIAS “ “ 242 

SCHMIDT,  MAX  “ “ 243 

SCHNORR  VON  CAROLSFELD,  JULIUS  VEIT  HANS  “ “ 243 

SCHCENEWBRK,  ALEXANDRE “ “ 243 

SC  HOLTZ,  JULIUS  “ “ 243 

SCHORN,  CHARLES  “ “ 243 

SCHRADER,  JULES “ " 244 

SCHREYER,  ADOLPHE “ “ 244 

SCHRCEDTER,  ADOLF  “ “ 245 

SCHULZ,  MORITZ  “ “ 245 

SCHUTZENBERGBR,  LOUIS-FREDERIC  “ “ 246 

SCHWARZ,  ALBERT  “ “ 246 

SCHWEINITZ,  RUDOLF “ “ 246 

SCHWIND,  MORITZ  LUDWIG  (RITTER  VON) “ “ 246 

SCIFONI,  ANATOLIO “ “ 247 

SCOTT,  SIR  GEORGE  GILBERT  “ “ 247 


xlviii 


NAMES  OF  ARTISTS. 


SCOTT,  JULIAN  Vol.  11.  Page 

SEEL,  AUOLE  

SEGfi,  ALEXANDRE  

SEIFPERT,  KARL  FRIEDRICH  

SEISSER,  MARTIN  B 

SELL,  CHRISTIAN  

SELLIER,  CHARLES  AUGUSTE 

SELLSTEDT,  LARS  GUSTAF 

SEMPER,  GOTTFRIED  

SETTEGAST,  JOSEF  

SHALDERS,  GEORGE 

SHAPLEIGH,  F.  H 

SHATTUCK,  AARON  D 

SHAW,  RICHARD  NORMAN  

SHAW,  ANNIE  C 

SHIRLAW,  WALTER  

SHUMWAY,  HENRY  C 

SHURTLEFF,  R.  M 

SIEGERT,  AUGUST 

SIEMIRADSKY,  HENRI 

SIGNOL,  DMILE  

SILVA,  FRANCIS  A 

SIMART,  PIERRE  CHARLES  

SIMLER,  FRIEDRICH  KARL  JOSEF  

SIMMONS,  WILLIAM  HENRY  

SUMMONS,  FRANKLIN  

SIMONETTI,  CAVALIERE  ATTILIO 

SIMONSEN,  NIELS 

SIMPSON,  WILLIAM 

SINDING,  OTTO  

SKILL,  F.  JOHN 

SKOVGAARD,  PETER  CHRISTIAN  

SLINGINEYER,  ERNEST  

SMALL,  WILLIAM  

SMART,  JOHN 

SMILLIE,  JAMES 

SMILLIE,  JAMES  D 

SMILLIE,  GEORGE  H 

SMIRKE,  SIR  ROBERT 

SMIRKE,  SYDNEY  

SMITH,  COLVIN  

SMITH,  T.  L 

SMITH,  GEORGE 


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NAMES  OF  ARTISTS.  xlix 

SMITH,  A.  CARY  Vol.  II.  Page  261 

SMITH,  F.  HOPKINSON  “ “ 261 

SMITH,  FRANK  HILL  “ “ 262 

SMITH,  WILLIAM  RUSSELL  “ . “ 263 

SOHN,  KARL  FERDINAND “ “ 263 

SOLOMON,  ABRAHAM “ “ 263 

SONNTAG,  WILLIAM  LOUIS  “ “ 263 

SORENSEN,  C.  F “ “ 264 

SOUMY,  JOSEPH-PAUL-MARIUS  “ “ 264 

SPANGENBERG,  GUSTAV  ADOLF “ “ 264 

SPARTALI,  MARIE  (MRS.  W.  J.  STILLMAN)  “ " 263 

SPENCER,  FREDERICK  R “ “ 266 

SPBRTINI,  GIOVANNI  “ “ 266 

SPREAD,  HENRY  F “ “ 266 

SPRING,  EDWARD  A “ “ 266 

SPROSSE,  CARL  “ “ 267 

STACQUET,  N “ “ 267 

STAIGG,  RICHARD  M “ “ 267 

STALLAERT,  JOSEPH “ “ 268 

STANFIELD,  CLARKSON  “ “ 268 

STANFIELD,  GEORGE  C “ “ 268 

STANHOPE  R.  SPENCER “ “ 269 

STEBBINS,  EMMA  “ “ 269 

STEELL,  SIR  JOHN  “ “ 269 

STEELL,  GOURLAY “ “ 270 

STEFFECK,  KARL  CONSTANTIN  HEINRICH  “ “ 270 

STEINBRUCK,  EDUARD  “ “ 270 

STEINHEIL,  LOUIS-CHARLES-AUGUSTE  “ “ 270 

STEINLE,  EDUARD “ “ 271 

STEPHENS,  EDWARD  B “ “ 271 

STEVENS,  JOHN  “ » 271 

STEVENS,  ALFRED  {Brit.)  “ “ 171 

STEVENS,  JOSEPH “ “ 272 

STEVENS,  ALFRED  {Belgian)  “ “ 273 

STEVER,  GUSTAV  CURT “ “ 273 

STOCKS,  LUMB  “ “ 274 

STONE,  PRANK  “ “ 274 

STONE,  HORATIO  “ “ 274 

STONE,  WILLIAM  OLIVER “ “ 274 

STONE,  MARCUS “ “ 275 

STONE,  J.  M “ “ 275 

STORELLI,  FELIX-MARIE-FERDINAND “ “ 276 

STOREY,  GEORGE  ADOLPHUS  " “ 276 


1 


NAMES  OF  ARTISTS. 


STORY,  WILLIAM  W Vol.  11.  Page  277 

STORY,  GEORGE  H “ “ 277 

STRAZZA,  GIOVANNI  “ “ 278 

STREET,  GEORGE  EDAIUND  “ “ 278 

STROEBEL,  J.  A.  B “ “ 278 

STROOBANT,  FRANCOIS “ “ 278 

STURAI,  FRIEDRICH  LUDWIG  CHRISTIAN “ “ 278 

SULLY,  THOMAS “ “ 279 

SUNOL,  GERONIMO  “ “ 279 

SUSSMANN,  HELLBORN  LOUIS  “ “ 279 

SUYDAM,  JAMES  A “ “ 279 

SWERTCHKOW,  NICOLAS  “ “ 280 

SYLVESTRE,  JOSEPH-NOEL  “ “ 2S0 

TADOLINI,  ADAM  SCIPIONE “ “ 280 

TADOLINI,  SIGNORA “ “ 2S1 

TAIT,  ARTHUR  F “ “ 281 

TAIT,  JOHN  R “ “ 281 

TANTARDINI,  ANTONIO  “ “ 282 

TARDIEU,  PIERRE-ALE.YANDRE  “ “ 282 

TATKELEFF,  VOGISNY  “ “ 283 

TAYLER,  FREDERICK  “ “ 284 

TAYLER,  NORMAN “ “ 284 

TENERANI,  PIETRO  “ “ 284 

TEN  KATE,  HERMANN  FREDERIC  KARL  “ 284 

TENNANT,  JOHN “ “ 28.5 

TENNIEL,  JOHN “ “ 285 

TERRY,  LUTHER “ “ 285 

TESCHENDORFF,  EMIL  “ “ 285 

THACKERAY,  WILLIAM  M “ “ 285 

THAYER,  ABBOTT  H “ “ 286 

THEED,  WILLIAAI  “ “ 287 

THIRION,  EUGfiNE-ROMAIN “ “ 287 

THOAI,  JAMES  CRAWFORD “ “ 287 

THOMAS,  JOFIN  EVAN “ “ 288 

THOMAS,  WILLIAM  CAVE “ “ 288 

THOMAS,  GABRIEL-JULES “ “ 288 

THOMAS,  GEORGE  H “ 289 

THOMPSON,  CEPHAS  G “ “ 289 

THOMPSON,  JEROME  “ “ 290 

THOMPSON,  LAUNT " “ 291 

THOMPSON,  A.  AVORDSWORTH  “ “ 291 

THOAIPSON,  ELIZABETH  (AIRS.  BUTLER)  “ “ 292 


NAMES  OF  ARTISTS.  li 

THOMPSON,  ALBERT  Vol.  II.  Page  293 

THORBURN,  ROBERT  “ “ 293 

THORNDIKE,  G.  QUINCY  “ “ 294 

THORNYCROFT,  MARY “ . “ 294 

THORNYCROFT,  THOMAS  “ “ 295 

THORNYCROFT,  HAMO “ “ 295 

THORNYCROFT,  HELEN  “ “ 295 

THORNYCROFT,  THERESA “ “ 295 

TIDEMAND,  ADOLPHE “ “ 295 

TIDEY,  ARTHUR “ “ 295 

TIDEY,  HENRY  “ “ 296 

TIECK,  CHRISTIAN  FREDERIC “ “ 296 

TIFFANY,  LOUIS  C “ “ 296 

TILTON,  JOHN  ROLLIN  “ “ 297 

TIMB.\L,  LOUIS  CHARLES “ “ 298 

TISSOT,  JAMES  “ “ 298 

TITE,  SIR  WILLIAM “ “ 299 

TOLLES,  SOPHIE  MAPES  “ “ 299 

TOMPKINS,  CLEMENTINA  M.  G “ “ 299 

TO  PHAM,  FRANCIS  WILLIAM  “ “ 300 

TOPHAM,  FRANCIS  W.  W “ “ 300 

TORELLI,  LOT " “ 300 

TOUDOUZE,  fiDOUARD “ “ 300 

TOULMOUCHE,  AUGUSTE  “ “ 300 

TOURNEMINE,  CHARLES  EMILE  VACHER  DE...  “ “ 301 

TRAUTMANN,  KARL  FRIEDRICH  “ “ 301 

TRIGT,  H.  A.  VAN “ “ 301 

TRIQUETI,  HENRI  DE “ “ 301 

TROTTER,  NEWBOLD  11 “ “ 301 

TROYON,  CONSTANT “ “ 301 

TRUBNER,  WILHELM  “ “ 303 

TRUMBULL,  GURDON  “ “ 303 

TRYON,  BENJAMIN  F “ “ 303 

T’SCHAGGENY,  CHARLES  PHILOGflNE “ “ 303 

T’SCHAGGENY,  EDMOND “ “ 304 

TUCKERMAN,  S.  S “ “ 304 

TURCAN,  JEAN  “ “ 304 

TURNER,  JOSEPH  M.  W “ “ 304 

TURNER,  WILLIAM  GREEN  “ “ 307 

TWACHTMAN,  J.  H “ “ 307 

ULIVI,  PIETRO  “ “ 307 

ULMANN,  BENJAMIN  “ “ 307 


lii  NAMES  OF  ARTISTS. 

UNGER,  WILHELM Vol.  II.  Page  307 

USSI,  COMMANDER  STEFANO  “ “ 308 

UWINS,  THOMAS “ “ 308 

VAINI,  PIETRO  “ “ 308 

VALERIO,  THEODORE  “ “ 309 

VALLANCE,  'VV.  F “ “ 309 

VALLES,  LORENZO “ “ 309 

VAN  ELTEN,  KRUSEMAN  “ “ 309 

VAN  HOVE,  VICTOR “ “ 310 

VAN  LERIUS,  JOSEPH  HENRI  FRANQOIS “ “ 310 

VAN  LUPPEN,  G.  J.  A “ “ 311 

VAN  MARCKE,  EMILE “ “ 311 

VANNUTBLLI,  CAVALIERE  SCIPIONE  “ “ 311 

VARLEY,  JOHN  “ “ 311 

VARLEY,  CORNELIUS  “ “ 311 

VARLEY,v  M-ILLIAM  FLEETWOOD “ “ 311 

VARNI,  SANTO  “ “ 312 

VASSELOT,  ANATOLE  MARQUET  DE “ “ 312 

VAUDREMER,  JOSEPH-AUGUSTE-fiMILE “ “ 312 

VAUREAL,  HENRI  DE “ “ 312 

VAUTIER,  BENJAMIN  “ “ 313 

VEDDER,  ELIHU “ “ 313 

VEIT,  PHILIP  “ “ 314 

VELA,  VINCENZO  “ “ 314 

VELY,  ANATOLE “ “ 314 

VERA,  ALEJO  “ “ 315 

VERBOECKHOVEN,  EUGENE  JOSEPH  “ “ 315 

VERBOECKHOVEN,  CHARLES-LOUIS “ “ 315 

VERHAS,  JAN  “ “ 315 

VERHEYDEN,  ISIDOR  “ “ 315 

VERLAT,  CHARLES “ 315 

VERNET,  EMILE-JEAN-HORACE “ “ 316 

VERNON,  THOMAS “ “ 320 

VERON,  ALEXANDRE  RENE  “ “ 320 

VERTUNNI,  ACHILLE  “ “ 320 

VERVEER,  SAMUEL  LEONIDAS  “ “ 321 

VETTER.  JEAN  HEGESIPPE  “ “ 321 

VEYRASSAT,  JULES  JACQUES  “ “ 322 

VIBERT,  JEHAN  GEORGES “ “ 322 

VINCK,  FRANZ “ “ 325 

VINTON,  FREDERICK  PORTER “ “ 325 

VIOLLET-LE-DUC,  filTENNE  ADOLPHE “ “ 326 


NAMES  OF  ARTISTS.  liii 


VIRY,  PAUL Vol.  II.  Page  326 

VOGEL  VON  VOGELSTEIN,  KARL  CHRISTIAN  ...  “ “ 326 

VOILLEMOT,  ANDRE-CHARLES  “ “ 326 

VOLK,  LEONARD  W “ ' “ 326 

VOLK,  DOUGLAS “ “ 327 

VOLLON,  ANTOINE “ “ 327 

VOLTZ,  FRIEDRICH  JOHANN  “ “ 328 

VON  SEVERDONCK,  J “ “ 328 

VOSS,  MARIA  “ “ 328 

VRIENDT,  JULIAN  DE “ “ 328 

VRIENDT,  ALBRECHT  DE  “ “ 328 

WACH,  KARL  WILHELM “ “ 328 

WAGNER,  FERDINAND “ “ 329 

WAGNER,  ALEXANDER  “ “ 329 

WALDO,  SAMUEL  “ “ 329 

WALDORP,  ANTOINE  “ “ 330 

WALKER,  FREDERICK  “ " 330 

WALLACE,  WILLIAM “ “ 330 

WALLER,  FRANK  “ “ 331 

WALTER,  THOMAS  N “ " 331 

WALTON,  ELIJAH  “ “ 331 

WARPERS,  EGIDE-CHARLES-GUSTAVE,  BARON...  “ “ 331 

WARD,  EDWARD  M “ “ 332 

WARD,  HENRIETTA  " “ 333 

WARD,  JOHN  Q.  A “ “ 334 

WARD,  EDGAR  M “ “ 334 

WARNER,  OLIN  L “ “ 335 

WARREN,  HENRY  “ “ 335 

WARREN,  EDMOND  G “ “ 335 

WASSON,  GEORGE  S “ “ 335 

WATERHOUSE,  ALFRED  ‘‘  “ 336 

WATERMAN,  MARCUS  “ “ 336 

WATSON,  JOHN  D “ “ 336 

WATSON,  THOMAS  H “ “ 336 

WATT,  JAMES  HENRY “ “ 337 

WATTER,  JOSEF “ “ 337 

WATTS,  GEORGE  F “ “ 337 

WAUTERS,  CHARLES  AUGUSTIN “ " 338 

WAUTERS,  Emile  Charles “ “ 338 

WAY,  A.  J.  H “ “ 338 

WEBER,  AUGUST “ “ 339 

WEBER,  P.XUL “ “ 339 


liv  NAMES  OF  ARTISTS. 

WEBER,  OTTO Vol.  II.  Page  339 

WEBSTER,  THOMAS  “ “ 340 

WEEKS,  HENRY “ “ 340 

WEEKS,  E.  L “ “ 341 

WEGENER,  JOHANN  FRIEDRICH  WILHELM “ " 341 

WEIR,  ROBERT  W “ “ 342 

WEIR,  JOHN  F “ “ 342 

WEIR,  JULIAN  ALDEN “ “ 343 

AVELLS,  HENRY  T “ “ 343 

WELLS,  JOHANNA  MARY  “ “ .344 

WENCKER,  JOSEPH  “ “ 344 

WERNER,  ANTON  VON  “ “ 344 

AVEST,  PETER  B “ “ 344 

AVESTMACOTT,  RICHARD  “ “ 345 

AVHARTON,  P.  F “ 345 

AVHISTLER,  JAMES  ABBOTT  M'NEILL  “ “ 345 

WHITE,  JOHN  BLAKE “ “ 34? 

WHITE,  EDAVIN  “ “ 348 

AVHITEHOUSE,  JAMES  “ “ 349 

AVHITTREDGE,  AVORTHINGTON “ “ 349 

WICIBIANN,  LUDWIG-AYILHELAI “ “ 350 

WICHMANN,  OTTO  GOTTFRIED  “ “ 350 

AVIEDER,  WILHELM  “ “ 350 

WIEGMANN,  MARIE  ELISABETH  {nee  HANCKE)  “ “ 350 

AVIGHT,  MOSES  “ “ 351 

WIGHT,  PETER  B “ “ 351 

AVILES,  LEAIUEL  M “ “ 351 

AVILKIE,  SIR  DAVID “ “ 352 

AVILLEAIS,  FLORENT “ “ 352 

AVILLENICH,  MICHEL  “ “ 353 

AVILLIAMS,  PENRY  “ “ 353 

WILLIAJIS,  ISAAC  L " " 353 

AVILLIAMS,  FREDERICK  D “ ‘‘  353 

WILLIAMS,  MRS.  FREDERICK  D.  {nee  LENT) " “ 354 

WILLIAMSON,  DANIEL  ALE.KANDER “ “ 354 

AVILLIAMSON,  JOHN “ “ 3.54 

AVILLIS,  HENRY  BRITTAN “ “ 354 

AVILLAIORE,  JAMES  T “ “ 355 

WILLMORE,  A “ “ 355 

WILMARTH,  LEMUEL  E “ “ 355 

WILMS,  PETER  JOSEF “ “ 356 

AVINNE,  LIE V IN  DE “ “ 356 

WINTER,  L.  DE  “ “ 356 


NAMES  OF  ARTISTS.  Iv 

WINTEK,  PHARAON-ABDON-LfiON  DE Vol.  II.  Page  356 

WINTERHALTER,  FRANgOIS  XAVIER  “ “ 356 

WINTZ,  GUILLAUME “ “ 357 

WISLICENUS,  HERMANN “ . “ 357 

WITHERINGTON,  WILLIAM  FREDERICK “ “ 358 

WITTIG,  HERMANN  FRIEDRICH “ “ 358 

WITTIG,  FRIEDRICH  AUGUST “ “ 358 

WOLF,  EMIL “ “ 358 

WOOD,  JOHN  “ “ 359 

WOOD,  GEORGE  B.,  Je “ “ 359 

WOOD,  MARSHALL  “ “ 359 

WOOD,  THOMAS  W “ “ 359 

WOODINGTON,  WILLIAM  F “ “ 360 

WOOLNER,  THOMAS “ “ 361 

WORMS,  JULES  “ “ 361 

WORTH,  THOMAS  “ “ 361 

WRIGHT,  RUFUS “ “ 362 

WRIGHT,  F.  E “ “ 363 

WYANT,  A.  H “ “ 363 

WYATT,  SIR  MATTHEW  DIGBY  “ “ 363 

WYBURD,  FRANCIS  JOHN “ “ 364 

WYLIE,  ROBERT “ “ 364 

WYLLIE,  W.  L “ “ 364 

WYNFIELD,  DAVID  W “ “ 365 

XYLANDER,  W “ “ 365 

YARZ,  EDMOND  “ “ 365 

YEAMES,  WILLIAM  FREDERICK “ “ 366 

YELLAND,  R.  D “ “ 366 

YEWELL,  GEORGE  H “ “ 367 

YON,  EDMOND-CHARLES  “ “ 367 

YOUNG,  JAMES  HARVEY  “ “ 367 

YOUNG,  HARVEY  “ “ 368 

YVON,  ADOLPHE  “ “ 368 

ZACHARIE,  PHILIPPE-ERNEST  “ “ 368 

ZAMACOiS,  EDOUARD  “ “ 368 

ZETTERSTROM,  MME.  M “ “ 370 

ZEZZOS,  ALESSANDRO “ “ 370 

ZIEM,  FELIX  “ “ 370 

ZIER,  fiDOUARD “ “ 372 

ZIMMERMANN,  ALBRECHT  “ “ 372 


Ivi  NAMES  OF  ARTISTS. 

ZOCCHI,  EMILIO  Vol.  II.  Page  372 

ZUBER,  JEAN-HENRI  {Alsatian) “ “ 372 

ZUBER-BUHLER,  FRITZ  “ “ 372 

ZUCCOLI,  LUIGI “ “ 372 

ZtiGEL,  HEINRICH  JOHANN “ “ 372 

ZULIANI,  JEAN  “ “ 372 

ZUMBUSCH,  CASPAR  " “ 372 

ZWIRNER,  ERNEST-FREDERIC “ “ 373 


AUTHORITIES  CONSULTED. 


American  Engravers  and  their  Works. 

Benjamin’s  Contemporary  Art  in  Europe. 

English  Artists  of  the  Present  Day. 

English  Painters  of  the  Present  Day. 

Great  American  Sculptors. 

Hamerton’s  Thoughts  about  Art. 

Hamerton’s  Painting  in  France. 

Hamerton’s  Contemporary  French  Painters. 

Hamerton’s  Etching  and  Etchers. 

Jarves’  Art  Idea. 

Jarves’  Art  Thoughts. 

Men  of  the  Time. 

Mrs.  Tytler’s  Modern  Painters. 

Ottley’s  Living  and  Recent  Painters. 

Smith’s  Art  Education. 

. Tuckerman’s  Book  of  the  Artists. 

Wornum’s  Epochs  of  Painting. 

Appletons’  Art  Journal. 

London  Art  Journal. 

The  Portfolio. 

Magazine  of  Art. 

Palgrave’s  Essays  on  Art. 

Redgrave’s  Century  of  Painters. 

Ruskin’s  Academy  Notes. 

Ruskin’s  Modern  Painters. 

Taine’s  Notes  on  England. 

Atlantic  Monthly. 

London  Athenajum. 

Atkinson’s  Northern  Capitals  of  Europe. 

Nichols’  Art  Education. 

Weir’s  Official  Report  of  the  American  Centennial  Exhi- 
bition. 


Iviii 


AUTHORITIES  CONSULTED. 


Keport  of  the  United  States  Commissioners  at  Vienna. 

Mario  Froth’s  Voyage  ah  Pays  des  Peintres. 

Chesnead’s  Chefs  d’Ecole. 

L’Illustration. 

Gazette  des  Beaux-Arts. 

L’Art. 

Galerie  Contemporaine,  Litt^raire,  Artistique. 

Revue  des  Deux  Mondes. 

Cherbuliez’  Litt^rature  et  Art. 

Charles  Blanc’s  Les  Artistes  de  mon  Temps. 

Claretie’s  Artistes  Contemporains. 

T.  Gautier’s  Salon  de  1861. 

E.  About’s  Salon  de  1864. 

Roma  Artistica. 

Die  KUnstler  allep.  Zeiten  und  Volker,  von  Professor  Fr. 
Muller. 

Ansichten  uber  die  Beldenden  Kunste  von  einem  Deutschen 
KiiNSTLEP.  IN  Rom. 

Die  Deutsche  Kunst  in  unserem  Jahrhundert,  von  Dr.  Hagen. 
Die  KtiNiGLiCHE  Kunstakademie  in  Dusseldorf,  von  "Wiegmann. 
Zeitschrift  fur  Bildende  Kunst. 

Gegenwart. 

Bryan,  Vapereau,  Bitard,  Nagler,  Larousse,  and  m-vatt  other 
Dictionaries  and  Encyclopa;dias. 


ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Jackson,  John  Adams.  {Am.)  Bom  in  Bath,  Me.,  1825.  Pupil, 
when  quite  young,  of  D.  C.  Johnston  of  Boston.  After  a careful  study 
of  linear  and  geometrical  drawing,  he  gave  some  time  to  working  in 
crayons,  and  later  made  some  successful  portraits  in  this  manner.  At 
Paris  he  studied  anatomical  drawing  from  life  in  the  famous  school  of 
M.  Suisse.  In  1851  Jackson  executed  some  fine  portrait  busts.  That 
of  W ebster  was  made  from  medals  and  portraits  furnished  by  his  fam- 
ily. At  Florence,  in  1853,  he  modeled  portrait  busts  of  Miss  Ade- 
laide Phillips,  T.  Buchanan  Read,  etc.  In  1854,  in  Paris,  he  modeled 
his  bust  of  Judge  Mason,  United  States  Ambassador  to  France,  and 
during  the  same  year  in  Boston  he  made  the  bust  of  Wendell  Phillips, 
now  in  the  Boston  Athenseuni  ; that  of  George  S.  Hillard,  for  the  New 
York  Historical  Society  ; and  that  of  Rev.  Dr.  Lyman  Beecher,  now 
owned  by  Rev.  H.  W.  Beecher.  In  1858  Jackson  removed  to  New 
York,  and  there  modeled  ideal  subjects  as  well  as  those  from  life,  in- 
cluding his  bust  of  T.  Buchanan  Read,  for  the  Union  League  Club  of 
Philadelphia.  In  1860  he  received  a commission  from  the  “ Kane 
Monument  Association  ” for  a statue  of  the  arctic  voyager,  to  be  made 
in  bronze  ; his  model  was  unanimously  accepted  by  the  committee,  and 
the  sculptor  went  to  Florence  to  attend  to  the  making  of  the  figure. 
Since  that  time  Florence  has  been  his  home.  In  1862  Jackson  mod- 
eled his  group  of  “ Eve  and  the  Dead  Abel,”  which  (in  marble)  belongs 
to  Mr.  W.  G.  Morehead  of  Philadelphia.  This  work  has  been  much 
praised  by  English  and  Italian  art  critics.  Charles  J.  Heinans  made  a 
careful  analysis  of  it,  and  Dr.  Arrowsmith,  an  English  surgeon,  wrote 
an  essay  on  it,  giving  the  connection  in  it  of  anatomy  and  physiology, 
and  “ showing  how  the  artist  had  in  this  group  expressed  the  very 
subtle  truths  of  organization  and  pathology.”  Following  this  work, 
the  artist  made  a statue  of  “ Autumn,”  for  Mr.  Tirrell  of  Weymouth  ; 
“ Cupid  stringing  his  Bow,”  for  Mr.  Watson  of  New  York  ; “ Titania 
and  Nick  Bottom,”  a small  group  in  bronze,  for  Mr.  Thomas  Williams 
of  London  ; “ Cupid  on  a Swan  ” (marble),  for  Mr.  H.  Clarke  of  Bel- 
mont ; the  “ Culprit  Fay,”  for  Mr.  S.  D.  Warren  of  Boston,  of  which 
several  copies  have  been  made  for  England  and  the  United  States  ; 
a bust  called  “ Peace,”  for  Mr.  Whidden  of  Philadelphia,  and  another 

VOL.  II.  1 A 


2 


ARTISTS  OF  THE  NINETEENTH  CENTURY. 


called  “ Dawn,”  for  Mr.  Theron  Shaw  of  Boston.  The  last  has 
been  often  repeated.  Jackson  has  made  many  portrait  busts  (havim^ 
finished  one  hundred)  and  medallions.  Among  the  latter  is  one  called 
the  “ Morning-Glory,”  which  has  been  fourteen  times  reproduced 
in  marble.  In  1867  Jackson  visited  New  York,  and  modeled  for 
the  “ Croton  Water-Board  ” a group  of  figures,  and  several  sin-de 
figures,  to  be  cast  in  bronze  and  placed  on  the  southern  gate-house 
of  the  Eeservoir  at  Central  Park.  The  design  was  approved  and 
the  contract  signed  for  the  work.  These  statues  have  not  yet  been 
cast,  but  an  engraving  of  the  central  group  appears  on  the  bonds 
issued  by  the  Board.  In  1869  the  artist  modeled  his  statue  of  the 
“ Beading  Girl,”  belonging  to  Mr.  Aaron  Healy  of  Brooklyn.  In  the 
Berlin  “ Zeitung”  Dr.  Hans  Semper  published  an  article  upon  this  work, 
which  he  highly  praised.  At  Vienna,  in  1873,  was  seen  the  “ Musi- 
dora,”  belonging  to  Mr.  Clarke  of  New  York,  of  which  Mr.  Gordon 
McKay  of  Cambridge  has  a fine  copy,  one  third  reduced  in  size. 
This  statue  was  exhibited  for  a few  clays  in  New  York,  and  was  as 
much  admired  as  it  had  been  in  Florence  before  it  left  the  artist’s 
studio.  In  1874  the  Soldiers’  Monument  at  Lcmn  was  erected.  In 
this  kir.  Jackson  represented  the  city  as  a woman  with  one  hand 
resting  on  a shield,  while  with  the  other  hand  she  bestowed  the  laurel 
wreath  ; the  shield  bearing  the  city’s  coat  of  arms.  Below  this  figure 
are  two  others,  “Justice”  and  “War,”  the  latter  at  rest  with  arms 
reversed.  The  monument  is  of  granite,  and  the  figures  of  bronze.  In 
1875  was  modeled  a “Hylas”;  and  following  that,  “ II  Pastorello,” 
W'hich  is  a group  in  marble,  representing  an  Abruzzi  peasant-boy 
with  his  goat.  It  has  been  sold  to  Mr.  Ne^dns  of  New  York.  It  is 
very  spirited,  full  of  grace  as  well  as  life.  It  has  a peculiar  interest, 
since  it  faithfully  represents  the  artistic  Abruzzi  costume,  which  is 
rapidly  disappearing,  and  is  much  regretted  by  all  lovers  of  the  pictu- 
resque. Of  the  “ Abel  and  Eve  ” the  Boston  Transcript  said,  — 

“ The  more  we  study  this  group  the  more  we  find  in  it  to  admire.  The  fine  conception 
is  fully  carried  out  in  the  details.  The  composition  is  admirable,  viewed  from  any  direc- 
tion, — a rare  accomplishment  in  a work  of  this  kind.  Eve  rests  on  one  knee,  and  on 
the  other  she  siipports  the  inanimate  form  of  Abel,  which  she  is  supposed  to  have  just 
discovered.  Her  left  hand  is  under  his  drooping  head,  while  in  her  right  hangs  his  life- 
less wrist  Her  head  is  bent  towards  his  wdth  a gaze  in  which  curiosity,  uncertainty, 
and  anxiety  are  mingled.  The  form  of  Eve  is  an  exquisite  piece  of  modeling.  It  is  full 
of  action,  and  yet  pervaded  with  grace.  The  back  is  especially  fine.  It  would  seem  as  if 
the  very  marble  itself  felt  the  coming  revelation,  which  is  to  prostrate  the  desolate  heart 
of  the  first  mother.  The  head  is  also  an  exquisite  piece  of  chiseling,  and  we  would  call 
particular  attention  to  the  hair  and  the  ivy  (a  happy  suggestion  of  woman’s  first  at- 
tempt to  adorn  herself)  which  binds  it ; the  mastery  of  which  sculptors  know  to  be  a 
difficult  task.  We  have  rarely  seen  hail-  so  faithfully  .and  beautifully  done.  The  form 
of  Abel  is  very  bold  in  its  conception.  It  is  dead  beyond  any  hope  of  recovery  ; and 
yet,  through  the  magic  of  the  sculptor’s  art,  it  excites  only  tender  and  pleasing  emotions. 
The  hand  of  the  boy,  and  that  of  Eve  which  holds  it,  are  worthy  the  most  critical 
study  of  both  the  artist  and  anatomist.  They  form  a group  in  tliemselves.  The  droop- 
ing left  arm  of  Abel  is  equally  successful.  The  anatomy  of  the  entire  group  is  per- 


ARTISTS  OF  THE  NINETEENTH  CENTURY. 


8 


feet ; we  have  lieard  professional  anatomists  speak  on  tliis  point  in  terms  of  the  highest 
admiration.” 

Mr,  Jackson  is  now  engaged  in  modeling  another  group  of  “ Eve 
and  Ahel/^  in  which  the  form  is  so  changed  that  it  is  the  same  only 
in  name.  He  intends  to  make  it  bis  cajpo  d!  opera.  It  has  already 
been  much  praised  by  critics  and  connoisseurs  who  have  seen  the 
model. 

“ Mf-.  J.  a.  Jackson’s  Musidora.  — Several  years  ago  a group  in  statuary,  ‘ Eve  and 
Abel/  by  Mr.  J.  A.  Jackson,  was  exhibited  in  this  city,  and  was  much  admired.  It  made 
a real  impression.  The  critics  of  the  day  were  enthusiastic  over  it.  The  artist  com- 
pleted it  in  Florence,  where  he  had  lived  some  years,  and  where  he  now  resides.  After 
the  Vienna  Exposition  he  sent  to  this  country  a life-sized  statue,  ‘ Musidora,  which 
had  been  exhibited  there.  For  a short  time  it  was  shown  in  New  York,  and  was  sold, 
but  not  before  its  superior  merits  had  made  for  it  many  friends  among  the  artists  and 
lovers  of  art.  Some  timeafter,  Mr.  Jackson  reproduced  this  work  in  marble,  two  thirds 
life-size,  and  this  work  is  now  owned  by  Mr.  McKay  of  Cambridge,  who  certainly  is  to  be 
congratulated  upon  the  possession  of  it.  The  story  of  Musidora  and  her  lover  Damon, 
told  in  the  ‘Summer*  of  Thomson's  ‘Seasons,*  gave  Mr.  Jackson  the  suggestion.  He 
has  taken  the  moment  when  Musidora,  standing  in  the  lilies  by  the  pool,  nude,  ready  for 
the  bath,  is  startled  by  the  noise  of  her  retreating  lover,  who,  half  angry  with  her,  una- 
ware of  her  approach,  had  been  musing  in  a pet  under  the  hazels  near  by.  She  leans 
forward,  listening  in  the  attitude  of  surprise,  with  left  hand  and  arm  uplifted,  and  the 
right  suiiporting  the  drapery.  The  weight  of  the  body  is  thrown  to  tlie  left.  The  figure 
is  that  of  a lovely  young  girl,  beautiful  in  face  and  form,  and  graceful  in  action.  The 
conception  is  a most  fortunate  one,  and  in  the  embodiment  of  it  the  artist  has  made  a 
gratifying  success.  He  has  given  the  figure  a pose  which  is  full  of  natural  grace  and 
charming  in  its  suggested  action.  The  symmetry  of  a beautiful  form  is  well  displayed 
under  conditions  where  it  is  easy  to  offend,  and  where  a hand  that  was  not  guided  by 
refinement  or  was  wanting  in  that  confidence  in  modeling  which  is  the  result  of  conscien- 
tious study  of  anatomy,  would  liave  failed.  It  is  altogether  a work  of  great  merit,  and 
as  a credit  to  American  art  ought  to  be  better  known.  ” — J.  B.  Millet,  in  Boston  Daily 
Advertiser,  October  28,  1878. 

Jacob,  Julius.  (Gcr.)  Born  at  Berlin,  1811.  Medals  at  Paris, 
Lyons,  and  Rouen.  Member  of  many  artistic  societies.  Studied 
under  Wach  at  the  Diisseldorf  Academy,  and  later  in  Paris  under 
Delaroche.  He  traveled  extensively  in  Europe,  and  visited  Asia  and 
Africa.  From  all  these  journeys  he  brought  back  twelve  hundred 
sketches  of  landscapes,  and  more  than  three  hundred  heads,  copied 
from  famous  pictures.  Among  his  works  are  a “ Scene  from  the  Life 
of  Saint-Louis,”  “Artist  Life,”  etc.  In  1844  he  went  to  England  and 
remained  eleven  years,  — his  portraits  were  much  admired,  and  he 
made  a fortune  by  them.  He  afterwards  traveled  in  the  South  of 
Europe,  and  went  to  Vienna,  where  he  made  likenesses  of  many 
eminent  persons,  Metternich,  Sohwarzenberg,  Lichtenstein,  etc.  He 
worked  with  great  rapidity,  and  finished  twenty-six  portraits  in  a 
single  year.  In  1866,  on  account  of  the  war,  he  returned  to  Berlin. 
In  the  National  Gallery  of  Berlin  is  a study  of  men’s  heads  by  Jacob. 
At  Berlin,  in  1876,  be  exhibited  “ Steinfeld  von  Sorrent  ” and  “ Aus 
der  Mark.” 

Jacobs,  Jacques- Albert- Michel.  {Belgian.)  Born  at  Antwerp, 


4 


ARTISTS  OF  THE  NINETEENTH  CENTURY. 


1812.  Officer  of  the  Order  of  Leopold.  Member  of  the  Royal  Academy 
of  Belgium.  Pupil  of  F.  de  Braekeleer.  Traveled  in  the  East.  Paints 
landscapes  and  marines.  At  the  National  Gallery,  Berlin,  is  his 
“ Grecian  Archipelago.” 

Jacomin,  Alfred-Louis.  {Fr.)  Born  at  Paris.  Pupil  of  his 
father.  Medal  at  Philadelphia,  where  he  exhibited  “ Bilboquet  and 
his  Companion  ” and  “ An  Armorer  of  the  Seventeenth  Century.”  At 
Paris,  in  1877,  was  “ A Baptism  ” ; in  1878,  “ The  Magic  Mirror.” 

Jacquand,  Claudius.  {Fr.)  Born  at  Lyons,  1805.  Chevalier  of 
the  Legion  of  Honor  and  of  the  Order  of  Leopold.  Pupil  of  the 
Academy  of  Lyons  and  of  Fleury-Richard.  His  motives  are  hLstor- 
ical.  A number  of  his  works  have  been  bought  by  the  Ci'vil  List; 
His  “Amende  Honorable,  — Scene  in  a Convent”  (1853)  is  in  the 
Luxembourg.  His  portraits  are  numerous  and  excellent.  The  “ Tak- 
ing of  Jerusalem”  is  at  Versailles.  Among  his  other  works  are, 
“ Bonaparte  at  Nice,”  “ The  Last  Interview  of  Charles  1.  and  his 
Children,”  “ The  Ransom  of  a Sicilian  Family  captured  by  a Morocco 
Pirate,”  “The  Death  of  Joseph,”  “Christopher  Columbus  about  to 
die  requests  his  Son  to  bury  with  him  the  Chains  which  he  had  worn,” 
etc.  His  picture  of  “ William  the  Silent  ” was  exhibited  in  Boston  by 
Williams  & Everett  in  the  winter  of  1878. 

Jacque,  Charles  Emile.  {Fr.)  Born  at  Paris,  1813.  Chevalier 
of  the  Legion  of  Honor.  When  seventeen  years  old  he  studied  with 
a geographical  engraver,  but  a little  later  enlisted  as  a soldier  and  re- 
mained seven  years  in  the  army.  He  then  resumed  his  engraving,  and 
worked  two  years  in  England  as  a draughtsman  on  wood.  He  may 
be  characterized  as  a rustic  artist.  His  knowledge  of  sheep  and  poul- 
try (of  which  last  he  is  a fancier  and  breeder)  is  simply  perfect,  and 
he  has  been  called  “ le  Raphael  des  Pourceaux  ” from  his  exact 
acquaintance  with  pigs.  He  has  been  much  in  Burgundy,  and  his 
pictures  of  life  there  are  marvelous  in  their  minute  representation,  not 
only  of  the  larger  objects,  but  of  details  ; of  the  utensils,  implements, 
and  all  the  picturesque  peculiarities  of  that  charming  country.  One 
cannot  always  praise  the  color  of  this  painter,  and  for  this  reason 
many  connoisseurs  rank  his  etchings  higher  than  his  paintings.  A 
catalogue  of  Jacque’s  engravings,  numbering  four  hundred  and  twenty, 
was  made  by  il.  Guiffrey.  Many  stories  are  told  of  his  buying  an 
old  shepherd  dog  for  a model,  of  his  giving  a new  wheelbarrow  for  a 
broken,  weather-stained  one,  etc.,  to  the  astonishment  of  the  peasantry 
at  Barbizon,  where  he  built  a little  house  and  a big  studio,  and  could, 
in  that  country,  indulge  his  love  for  all  that  the  word  “ rustic  ” can  sug- 
gest. His  earlier  pictures,  like  his  etchings,  were  small ; but  he  has 
painted  larger  ones  ; of  which  “ A Landscape  with  a Flock  of  Sheep  ” 
(1861)  is  at  the  Luxembourg.  He  has  sent  nothing  to  the  Salons 
since  1870;  then  he  exhibited  “ The  Border  of  a Wood  with  Ani- 
mals ” and  “ The  Interior  of  a Sheepfold.”  Jacque  has  made  many 


ARTISTS  OF  THE  NINETEENTH  CENTURY. 


5 


designs  for  book  illustrations,  and  by  contributions  to  “ Charivari  ” 
lias  shown  himself  a good  caricaturist.  Some  of  his  etchings  form 
delightful  series,  and  are  much  prized  by  collectors.  The  proofs  of 
several  of  his  prints  are  exceedingly  rare.  At  a Paris  sale  in  1872  “A 
Girl  Knitting  ” sold  for  £ 164.  Several  excellent  works  by  this  artist, 
showing  the  manner  of  his  different  periods,  are  in  the  Walters  Gal- 
lery at  Baltimore. 

“ If  the  pittorcsque  did  not  exist  in  the  French  language,  one  w'ould  have  to  in- 
vent it  for  the  works  of  Charles  Jacque  ; and  what  is  the  picturesque,  if  not  the  senti- 
ment of  life  in  its  most  familiar  form  ? When  a painter  shows  me  a idow  in  the  fields, 
a pail  near  a well,  a pot  in  a kitchen,  a lantern  in  a garret,  I ought  to  understand  that 
these  are  common  objects,  frequently  used,  and  not  brand-new  things  just  out  of  a shop. 
Of  course  the  form  would  be  the  same,  but  the  expression  would  be  different  ; and  the 
expression  conveys  the  charm  of  a rustic  scene  by  giving  us  the  illusion  of  reality.  Why 
have  Charles  Jacque’s  works  such  a powerful  charm  ? It  is  because  they  always  show 
us  things  or  persons  such  as  they  are  in  nature  : because  he  studies  them  in  the  course 
of  their  usual  life  and  avocations  ; and  because  this  sincerity  carries  us  without  effort  to 
the  scene  that  he  chooses  to  represent.  Who  knows  better  than  he  how  to  paint  or  draw 
hens  perched  on  a cart,  ducks  dabbling  in  a pond,  sheep  in  search  of  grass,  children 
rambling  about  the  fields  instead  of  going  to  school,  a servant  washing  clothes,  a plow 
under  a shed?  His  inns,  his  farms  and  i)Oultry  j’ards,  his  village  streets,  his  skirts  of 
forest ; his  old  walls,  full  of  crevices,  of  stains  of  damp  or  crumbling  plaster;  his  barns, 
with  cobwebs  hanging  from  their  ceilings,  charm  us  precisely  because  the  painter  has 
not  recourse  to  any  tricks,  but  merely  tells  us,  in  his  plastic  language,  the  things  that  he 
saw,  observed,  and  studied  in  the  country.”  — Ken^:  Menard,  The  Portfolio,  Septem- 
ber, 1875. 

“ But  it  is  necessary,  injustice,  to  say  that  the  pictures  of  Charles  Jacque  represent 
him  quite  unfairly,  and  that  his  knowledge  of  nature  and  fine  artistic  sensibility  are 
both  neutralized  on  canvas  by  his  congenital  incapacity  to  see  color.  His  greens  are  as 
crude  as  the  worst  English  greens,  and  crude,  if  possible,  in  a more  hopeless  way  ; for 
English  crudity  in  very  many  cases  is  nothing  but  a vain  attempt  to  render  natural 
biilliance,  resulting  from  an  extreme  sensitiveness  uncontrolled  by  science  ; whereas  the 
crudity  of  Charles  Jacque  is  not  due  to  sensitiveness  at  all,  but  to  mere  blindness.  His 
ordinar}^  gamut  of  color  — one  cannot  call  it  a harmony  — is  limited  to  these  raw  greens, 
and  a set  of  grays  equally  raw,  passing  into  lead-color  of  the  most  unpleasant  hue. 
Wlien  the  greens  are  absent,  as  they  are  from  some  pictures,  they  are  replaced  by  dirty 
browns,  not  less  crude  in  reality,  though  the  crudity  of  browns  is  not  so  generally 
recognized  as  that  of  greens.  But  when  Charles  Jacque  is  free  from  the  embarrassment 
of  color,  as  in  his  etchings,  or  the  lithographs  and  photograi>hs  from  his  pictures,  he  is 
often  one  of  the  most  charming  of  French  artists.’*  — P.  G.  Hamerton,  Contemporary 
French  Painters. 

Jacquemart,  Henri  Alfred.  {Fr.)  Bom  at  Paris,  1824.  Cheva- 
lier of  the  Legion  of  Honor.  Pupil  of  Paul  Delaroche.  This  sculp- 
tor executed  the  two  Griffons  of  the  Fontaine  du  Saint  Michel.  He 
directed  the  restoration  of  the  Fontaine  de  la  Victoire,  and  has  done 
other  public  works  at  Paris.  At  the  Salon  of  1877  he  exhibited 
“A  Camel-Driver  of  Asia  Minor”  (group  in  plaster)  and  a “Young 
Wood-Gatherer.”  His  portrait  busts  and  statues  are  numerous  ; 
among  them  are  several  equestrian  statues.  Many  of  his  subjects 
represent  animal  life. 

Jacquemart,  Jules  Ferdinand.  {Fr.)  Born  at  Paris,  1837. 


6 


ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Chevalier  of  the  Legion  of  Honor,  and  of  the  Order  of  Francis 
Joseph.  Son  of  Albert  Jacquemart,  a man  of  letters.  Some  of  the 
best  etchings  of  the  son  were  executed  for  the  illustration  of  the  works 
of  the  father.  This  artist  is  inimitable  as  an  engraver  of  stiU-life  ; as 
a reproducer  of  pictures  he  is  not  remarkable.  His  chefs-d’auvre  are 
the  illustrations  of  the  “ History  of  Porcelain,”  by  his  father,  and 
those  for  “ The  Gems  and  Jewels  of  the  Crown.”  Jacquemart  is  one 
of  the  Committee  of  Fine  Arts  of  International  Expositions. 

“ I never  knew  the  glory  and  beauty  of  noble  old  work  in  the  precious  stones  and 
metals,  till  Jules  Jacquemart  taught  me.  The  joyaux  of  the  Louvre  were  familiar  to  me, 
but  a veil  hung  between  me  and  their  true  splendor  ; and  it  was  only  when  Jacquemart 
had  etched  them  one  by  one  that  I learned  to  know  them  truly.”  — P.  G.  Hamerton, 
Etching  and  Etchers. 

Jacquemart,  Mile.  Ndlie.  (Fr.)  Born  at  Paris.  Three  medals 
at  Paris,  1868,  ’69,  and  ’70.  Portrait-painter.  This  artist  early 
showed  her  talent,  has  been  very  successful  in  her  profession,  and  has 
the  power  to  make  warm  friends  of  her  subjects  and  patrons.  At  the 
Salon  of  1877  she  exhibited  a portrait  of  General  d’Aurelle  de  Pala- 
dines,  and  one  of  the  Viscount  Henry  G.  ; in  1876  those  of  Gen- 
eral de  Palikao  and  of  Count  de  Chambrun  ; in  1875,  portraits  of 
two  gentlemen  and  one  lady  ; in  1874,  three  portraits  ; in  1873,  por- 
traits of  M.  Dufaure  and  of  the  Marquise  A.  de  C.  ; in  1872,  M. 
Thiers,  President  of  the  Eepublic  ; in  1870,  Marshal  Canrobert  and  a 
lady. 

“ One  feels  that  this  artist  does  not  take  her  inspiration  alone  from  the  sittings  of  her 
subjects,  but  that  she  finds  the  best  part  of  her  work  in  her  knowledge  of  character,  and 
from  her  close  study  of  the  pcrsonelle  of  those  whom  she  portrays.**  — Paul  d’ Arrest, 
Zeitschrift  fiir  bildende  Kunst,  1875. 

Jacquesson  de  la  Chevreuse,  Louis.  {Fr.\  Born  in  Toulouse, 
France,  1840.  His  family  belonged  to  the  ancient  French  nobility, 
and  their  estate  in  St.  Domingo  was  confiscated  by  Napoleon  I.  The 
young  Louis  consequently  was  of  necessity  educated  for  an  indepen- 
dent career.  Having  strong  musical  and  artistic  tastes,  he  entered 
the  Conservatory  of  Toulouse,  and  carried  away  the  first  prize  of  that 
institution  at  the  age  of  fourteen.  Later  he  was  sent  to  Paris  to  study 
painting,  and  entered  the  studio  of  Flandrin.  Subsequently  he  be- 
came one  of  the  favorite  pupils  of  Ingres.  At  this  time  the  master 
was  too  old  to  teach  in  his  studio,  but  gave  to  Jacquesson  the  entree 
into  his  private  chamber,  where  frequently  in  his  bed  Ingres  poured 
into  the  willing  ears  of  his  fortunate  pupil  the  principles  and  thoughts 
of  his  long  life  and  great  experience.  In  consequence  of  these  advan- 
tages, Jacquesson  is  said  to  have  been  imbued  more  deeply  with  the 
grand  ideas  of  Ingres  than  any  other  artist  in  France.  In  1865  he 
competed  for  the  grand  prix  de  Rome,  although  quite  unprepared  for 
the  task.  Jacquesson  at  this  time  was  but  twenty-five,  and  heretofore 
students  of  thirty  had  been  admitted  to  this  competition,  but  a new  rule 
i'orced  him  to  enter  then  or  never.  In  addition  to  this  he  w.os  dis- 


ARTISTS  OF  THE  NINETEENTH  CENTURY. 


7 


abled  by  illness,  and  his  picture  was  not  finished  in  time,  although,  it 
won  the  second  prize  and  was  purchased  by  the  government  for  2,000 
francs.  Soon  after  this  he  opened  a studio  in  Paris  for  the  reception 
of  pupils,  of  which  one  of  his  students  writes  : “ The  serious  work 
required,  and  lofty  principles  inculcated,  have  stood  in  the  way  of  its 
becoming  the  resort  of  the  average  rapin.  It  is  not  a popular  studio, 
one  to  which  the  masses  flock.”  A number  of  Americans  have  been 
among  his  pupils.  He  has  so  devoted  himself  to  his  classes  that  his 
own  work  has  seriously  suffered,  although  he  has  painted  a number  of 
fine  portraits. 

Jacquet,  Jean  Gustave.  (Fr.)  Born  at  Paris,  1846.  Medals  in 
1868  and  ’75.  Pupil  of  Bouguereau.  He  made  his  debut  at  the  Salon 
of  1865  with  two  pictures,  “ Modesty  ” and  “ Sadness.”  His  picture 
of  “The  Call  to  Arms”  (1867)  attracted  much  attention.  Edmond 
About  said  : “ Behold  an  artist,  unknown  to-day,  who  will  be  cele- 
brated to-morrow.”  His  “ Sortie  de  Lansquenets”  of  1868  was  bought 
by  the  State,  and  is  at  the  chateau  of  Blois.  Jacquet  has  traveled  in 
Italy,  Germany,  and  England.  His  pictures  are  in  demand  and  bring 
good  prices.  He  is  fond  of  all  the  objects  which  collectors  love,  and 
his  atelier  is  rich  in  tapestry,  stuffs,  arms,  drai^eries,  etc.  He  took 
part  in  the  battle  of  Malmaison,  where  he  saw  Cuvelier  killed  and 
Leroux  grievously  wounded.  His  drawing  is  spirited,  his  color  pleas- 
ing, and  the  general  effect  in  his  pictures  is  bright  and  charming. 
Among  his  works  are,  “La  pauvrette”  (1877),  the  “ Peasant- Woman” 
(1876),  “ Reverie,”  “ Halt  of  Lansquenets,”  “A  Vidette  ” (1875),  etc. 
He  paints  many  portraits.  His  “ Going  to  the  Races  ” belongs  to  Mr. 
Hawk  of  New  York.  At  the  Paris  Salon  of  1878  he  exhibited  “Jeanne 
dArc  praying  for  France.” 

Jadin,  Louis  Godefroy.  (Fr.)  Born  at  Paris,  1805.  Chevalier 
of  the  Legion  of  Honor.  Pupil  of  Hersent  and  Abel  de  Pujol.  He 
has  done  some  decorative  paintings,  among  which  are  eight  panels  of 
subjects  from  the  chase  in  the  dining-room  of  the  Ministry  of  State, 
and  a ceiling  at  the  palace  of  the  Luxembourg,  representing  “ Aurora.” 
Many  of  his  pictures  are  of  hunts  and  animals. 

Jadin,  Emmanuel  Charles.  (Fr.)  Born  at  Paris.  Pupil  of  his 
father  and  of  Cabanel.  He  received  a medal  at  Philadelphia,  where 
he  exhibited  “ The  Sheik  Salah  dead  in  his  Tent.”  At  the  Salon  of 
1877  he  exhibited  the  “Resurrection  of  Lazarus”;  in  1878,  “ The 
Return  from  the  Cemetery,  Venice.” 

Jaeger,  Gustav.  (Ger.)  Born  at  Leipsic  (1808- 1871).  Director  of 
the  Academy  at  Leipsic.  Pupil  of  the  Academy  at  Dresden,  and  of 
Schnorr  von  Carolsfeld.  Many  of  his  most  important  works  were 
frescos  ; among  these  the  decoration  of  a salon  at  the  chateau  of  the 
Grand  Duke  of  Weimar.  Cartoons  of  these  pictures  are  in  the  Mu- 
seum of  Leipsic,  where  are  also  two  paintings  of  religious  subjects.  At 
Munich  he  executed  one  of  the  frescos  of  the  Grand  Hall  of  the  Nie- 


8 


ARTISTS  OF  THE  NINETEENTH  CENTURY. 


belungen.  Among  his  oil-paintings  may  be  mentioned,  “ The  Death 
of  Moses,”  bought  by  the  Society  of  Arts  of  Saxony,  and  “ The  En- 
tombment of  Christ.”  Vapereau  says  ; — 

“ He  enjoyed  the  reputation  of  a master  of  German  painting  ; he  is  praised  for  gran- 
deur of  style,  clearness  of  composition,  nobleness,  expression,  boldness  of  touch,  and, 
with  correct  drawing,  the  sentiment  of  light  and  color.” 

Jalabert,  Charles  Francois.  (TV.)  Bom  at  Ximes,  1819.  Officer 
of  the  Legion  of  Honor.  Pupil  of  Paul  Delaroche.  Passed  some 
time  in  Italy.  Has  painted  portraits,  genre  and  religious  subjects. 
His  “Virgil,  Horace,  and  Varius  at  the  House  of  Maecenas  ” (1847)  is 
at  the  Luxembourg.  In  1873  he  exhibited  at  the  Salon  two  portraits 
of  ladies;  in  1872,  a portrait  and  “ The  Awakening”;  in  1870,  two 
portraits.  Among  his  earlier  works  are,  “ Christ  on  the  Mount  of 
Olives,”  “ St.  Luke,”  “ The  Annunciation,”  “ Xymphs  listening  to 
Orpheus,”  “Romeo  and  Juliet,”  etc.  At  the  JValters  Gallery,  Balti- 
more, is  his  “Orpheus,”  of  which  the  Sunday  Bulletin,  Februarj- 12, 
1876.  says  ; — 

“A  most  delicately  wrought  and  poetic  composition.  The  grace  and  beauty  of  the 
nymphs,  and  the  soft  and  dreamy  tone  that  is  preserved,  betray  a ijeculiarly  happy  con- 
ception and  a pretty  idea  well  sustained  and  fully  developed.  The  picture  is  in  Imnnnny 
with  Orpheus’  music,  which  is  sensuous,  dreamy,  and  reposeful,  and  with  nothing  too 
real  about  it.” 

Also  in  the  same  gallery  is  a scriptural  subject,  “ Suffer  little  Chil- 
dren to  come  unto  Me,”  and  another  picture  of  a child. 

“ The  practical  work  of  such  a painter  as  Jalabert  depends  greatly  on  the  use  of  the 
razor.  First,  the  dead-color  is  laid  of  about  equal  thickness  throughout,  and  then 
scraped  down  with  a very  sharp  razor  till  it  presents  a perfectly  smooth  and  even  surface 
everywhere.  On  this  surface,  slightly  oiled,  the  artist  proceeds  to  work,  this  time  in 
thinner  color,  and  after  successive  scrapings  and  repaintings  the  picture  arrives,  finally, 
at  a sort  of  finish  remarkable  for  an  extreme  equality  of  surface,  which  has  always  a 
certain  chann  for  tlie  popular  mind.  And  the  popular  mind  is  right  to  some  extent,  for, 
although  roughness  of  loading  would  not  signify  in  the  least  if  the  picture  were  always 
to  be  seen  by  a light  equally  diffused  over  the  whole  of  its  area,  it  is  true,  nevertheless, 
that  since  pictures  are  always  seen  by  alight  either  coming  from  above  or  from  one  side, 
many  of  the  rough  projections  of  paint  will  catch  lights  and  project  shadows  of  their  own 
quite  independently  of  the  light  and  shade  of  the  picture,  and  often  altogether  destruc- 
tive to  it.  Horace  Vemet  said,  and  truly,  that  light  resides  in  the  quality  of  the  tone 
and  not  in  the  thickness  of  the  pigment : and  the  love  for  smoothness  of  surface  which 
marks  Jalabert  and  some  othei-s  is  perfectly  compatible  with  artistic  power,  both  in 
color  and  chiaroscuro,  whilst  it  is  more  than  ‘ compatible  ’ with  drawing,  being  posi- 
tively favorable  to  form.  Of  Jalabert’s  works  I like  his  portraits  best,  and  the  single 
figures  which  resemble  portraits,  and  are,  in  fact,  portraits  of  models,  more  or  less  ide.al- 
ized.” — P.  G.  Hajierton,  Painting  in  France. 

Janssen,  Peter  Johann  Theodor.  (_Ger.')  Born  at  Diisseldorf, 
1844.  Studied  at  the  Diisseldorf  Academy,  and  adopted  the  manner 
of  E.  Bendemann.  Visited  IMunicb,  Dresden,  and  Holland.  Painted, 
at  the  Hotel  de  Ville  in  Crefeld,  a series  of  scenes  from  early  German 
history,  and  at  Bremen,  in  the  Exchange,  a picture  of  “ The  Com- 
mencement of  Colonization  in  the  Baltic  Piwinces.”  He  also  painted 
many  smaller  pictures,  historical  subjects  and  portraits.  Recently 


ARTISTS  OF  THE  NINETEENTH  CENTURY. 


9 


he  has  undertaken  a series  of  works  in  the  Hotel  de  Ville  at  Erfurt. 
In  the  National  Gallery  at  Berlin  he  has  also  painted  some  decorative 
works. 

Japy,  Louis  Aimd.  {Fr.)  Born  at  Berne  (Doubs).  • Pupil  of 
Frangais.  Medals  in  1870  and  ’73.  A painter  of  landscapes.  At 
the  Corcoran  Gallery,  Washington,  are  “ A Spring  Landscape  ” and 
“Twilight,”  painted  in  1873.  At  the  Salon  of  1878  he  exhibited 
“ Spring  in  the  Valley  of  the  Somme  ” and  “ In  the  Wood  in  April.” 

Jeannin,  Georges.  (Fr.)  Born  at  Paris.  Pupil  of  Vincelet. 
Medal  of  the  third  class  in  1878,  when  he  exhibited  “A  Barrow  of 
Flowers”  and  “A  Basket  of  Flowers”  ; in  1877,  “After  the  Rain” 
and  “In  the  Flowers”;  in  1876,  “The  Flower  Shop”  and  “A 
Quantity  of  Flowers.” 

Jeanron,  Philippe-Auguste.  (Fr.)  Born  at  Boulogne-sur-Mer, 
1809.  Member  of  the  Institute  of  France  and  Officer  of  the  Legion 
of  Honor.  A writer  and  painter.  His  pictures  are  scenes  from  ever}^- 
day  life.  “ The  Little  Patriots,”  the  first  which  he  exhibited,  was 
purchased  by  the  Luxembourg,  and  is  now  at  Caen.  “ The  Flight  ” 
and  “The  Repose  in  Egypt”  were  bought  by  the  Duke  de  Luynes. 
“ The  Abandoned  Port  of  Ambleteuse  ” is  at  the  Luxembourg.  Jean- 
ron has  made  many  estimable  portraits  ; also  some  engravings  with 
the  dry  point.  In  1848  he  was  appointed  Director  of  the  Louvre  and 
the  National  Museums.  In  this  position  he  rendered  important 
services  to  the  world  in  his  classification  and  arrangement  of  the  art 
treasures  in  the  Louvre,  in  the  opening  of  the  Egyptian  Museum,  and 
many  other  admirable  additions  to  the  conveniences  for  seeing  the 
little  world  of  wonders  and  beauties  gathered  there.  Since  1860  he 
has  been  the  Director  of  the  Museum  of  Marseilles. 

Jenkins,  Joseph  J.  (Brit.)  Born  in  London,  1811.  He  studied 
under  his  father,  an  engraver  in  London,  and  began  his  professional 
life  by  designing  illustrations  for  books  and  magazines.  In  1842  he 
became  a member  of  the  New  Society  of  Painters  in  Water-Colors, 
resigning,  however,  in  1845.  In  1846  he  went  to  the  Continent, 
spending  some  time  in  study  and  sketching.  In  1849  he  was  elected 
an  Associate  of  the  Old  Water-Color  Society,  full  member  in  1850, 
was  Secretary  for  many  years,  and  is  at  present  a Trustee  and  regular 
contributor  to  its  exhibitions.  Among  the  better  known  of  his  works 
are,  “ Going  with  the  Stream,”  “ Going  against  the  Stream,”  “ Hopes 
and  Fears,”  “Happy  Times,”  “On  the  Thames  at  Mill  End,”  “Both 
Sides  of  the  Channel,”  “ In  Sight  of  Home,”  “ A Creek  on  the 
Blyth,”  “At  Caen,  Normandy,”  “A  Nook  on  the  Thames,”  “Mist 
on  the  Hillside,”  and  others,  many  of  which  have  been  engraved. 

His  “ En  Route  ” was  at  the  Philadelphia  Centennial  Exhibition  of 
1876. 

Jenks,  Mrs.  Phoebe.  (Am.)  Born  in  Portsmouth,  N.  H.,  1849. 
Studied  art  under  B.  C.  Porter  and  D.  T.  Kendrick  in  Boston,  spending 
1 * 


10  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


her  professional  life  so  far  in  that  city.  She  paints  landscapes,  fig^ures, 
and  portraits,  and  has  exhibited  frequently  of  late  years  in  the  Boston 
Art  Club  and  New  York  Academy  of  Design.  Among  her  works 
are,  a two-thirds  portrait  of  a lady  (owned  by  Mrs.  Alvin  Adams 
of  Watertown),  portrait  of  a child  (in  the  possession  of  W.  H. 
Humphrey,  Boston),  “ Mamma’s  Comb”  (belonging  to  Robert  M. 
Mason,  Boston),  “ The  First  Attempt  ” and  “ Making  Dolly's  D’ess  ” 
(to  Oliver  Ames),  “Priscilla  the  Spinner”  (to  S.  L.  French),  and 
“ Industry  ” (to  Oliver  Ditson).  Her  “ Patience  ’’  was  at  the  National 
Academy  in  1878. 

Jerichau,  A.  {Dane.)  Born,  1818.  After  studying  awhile  at 
home,  this  sculptor  went  to  Rome,  where  he  had  for  a master  his 
countryman  Thorwaldsen.  His  principal  works  are,  “ The  Marriage 
of  Alexander  and  Roxana,”  a bas-relief  for  a frieze  of  the  Royal  castle 
at  Copenhagen,  a colossal  group  of  “ Hercules  and  Hebe,”  “ Pe- 
nelope ” (a  chef-d’ceuvre  of  this  artist),  “ A Hunter  devoured  by  a 
Lioness,”  an  “ Ascension  ” (which  took  the  grand  prize  given  by  the 
Princess  Albert  of  Prussia,  whose  property  the  statue  became),  “ The 
Creation  of  Eve,”  “Adam  and  Eve  after  the  Fall,”  “A  Sleeping 
Woman,”  “ The  Panther-Hunter,”  and  the  monuments  to  Oersted  and 
Andersen  at  Copenhagen,  which  are  much  admired.  This  sculptor  is 
classical  in  his  correctness  and  purity  of  form. 

Jerichau-Baumann,  Mme.  EUzabeth.  (Dane.)  Born  at  Copen- 
hagen about  1825.  Pupil  of  the  Academy  at  Diisseldorf.  This 
painter  has  been  with  her  husband  for  a long  time  in  Rome.  Her 
pictures  are  of  genre  subjects.  In  1861  she  had  an  honorable  mention 
at  Paris.  Her  “Reading  of  the  Bible”  was  a commission  from  Na- 
poleon III.  Mme.  Jerichau  painted  a portrait  of  the  Princess  of  Wales 
in  her  Aved ding-dress,  for  the  Princess  Christian.  Among  her  works 
are,  “ The  Joys  of  a Mother,”  “ A Danish  Sailor  drying  his  Nets,” 
“The  Wounded  Soldier,”  “A  Young  Girl  praying  for  her  Sick 
Mother,”  etc.  At  Berlin,  in  1876,  she  exhibited  “A  Scene  on  the 
Nile,”  “ A Portrait  of  a Sultana,”  and  “ Egyptian  Water-Carriers.” 

Jobbd-Duval,  Fdlix.  (Fr.)  Bom  at  Carhai.x,  1821.  Chevalier 
of  the  Legion  of  Honor.  Pupil  of  Paul  Delaroche.  Made  his  debut 
at  the  Salon  of  1841.  In  1875  he  exhibited  three  portraits  ; in  1874, 
the  same  number;  in  1873,  “The  Mysteries  of  Bacchus ’’and  car- 
toons of  frescos  in  the  Palace  of  Justice  at  Bordeaux  and  in  the 
church  of  Saint-Ger\-ais  at  Paris  ; in  1872,  “ Wishes  ” and  “ Bouquet  of 
Roses.”  Among  his  works  are,  “ The  Descent  from  Calvary,”  some 
frescos  in  the  church  of  Saint-Severin  at  Paris,  and  others  in  the 
Monastery  of  the  Visitation  at  Troyes,  etc.  At  the  Salon  of  1878  he 
exhibited  “ The  Sea.” 

Johnson,  Horace  C.  (Am.)  Born  at  Oxford,  Ct,  1820.  Began 
his  art  studies  under  Professor  Morse  in  the  city  of  New  York,  and 
during  the  years  1856,  ’57,  and  ’58  was  a pupil  of  William  Page  in 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  11 


Rome.  His  professional  life  has  been  spent  in  Italy  and  in  his  native 
State,  many  of  his  portraits  being  in  the  possession  of  Connecticut  fami- 
lies. He  is  at  present  a resident  of  Waterbury.  His  “ Roman  Peas- 
ant on  the  Campagna”  belongs  to  Mr.  C.  N.  Wayland  of  N’ew  York  ; 
“ Grape-Gatherers  of  Gensano,”  to  Mr.  D’Aubigny  of  New  York  ; and 
his  portrait  of  Dr.  Samuel  Elton  and  “ The  Roman  Mother  ” are  in 
the  possession  of  Mrs.  John  P.  Elton  of  Waterbury,  Ct. 

Johnson,  David,  N.  A.  (Am.)  Born  in  New  York,  1827.  At 
the  commencement  of  his  career  he  received  a few  lessons  from  J.  F. 
Cropsey,  but  has  been  a close  student  of  Nature,  looking  upon  her 
as  bis  teacher  and  master.  His  professional  life  has  been  spent  in 
New  York.  He  has  never  been  abroad.  In  1859  Mr.  Johnson  was 
one  of  the  founders  of  the  Artists’  Fund  Societ3%  He  was  elected  an 
Associate  of  the  National  Academy  in  1860,  and  Academician  in  1862. 
In  1867  he  exhibited  “Echo  Lake”;  in  1869,  “ On  the  Wallkill 
River  ” ; in  1870,  “ New  Berlin,  N.  Y.  ” ; in  1871,  “ View  at  Barry- 
town,  N.  Y.  ” ; in  1874,  “View  at  Dresden,  Lake  George”  (belonging 
to  Cortland  Palmer)  ; in  1876,  “ Near  Noroton,  Ct.”;in  1877, “Green- 
wood Lake  ” ; in  1878,  “ Morning  at  the  Harbor  Islands,  Lake 
George.” 

His  “ Lake  George  ” belongs  to  Mrs.  William  H.  King,  N.  Y. ; his 
“ Hudson  River,”  to  Mrs.  William  H.  Gerrard  ; his  “ Mount  Lafay- 
ette,” to  John  J.  Cisco  ; his  “ October  on  the  Erie  Railway,”  to  E.  A. 
Munson,  Utica  ; his  “ Spring  at  Mount  Vernon,”  to  Bryan  Smith  of 
Brookljm.  His  “ Housatonic  River,”  exhibited  at  the  Paris  Salon  in 
1877,  belongs  to  L.  A.  Lanthier,  N.  Y. 

To  the  Centennial  Exhibition  of  1876  he  sent  “ Scenery  on  the 
Housatonic”  (belonging  to  Mrs.  J.  Bullard),  “ Old  Man  of  the  Moun- 
tain ” (belonging  to  Richard  Taft),  and  “ A Brook  Study,  Orange 
County,  N.  Y.,”  receiving  one  of  the  first  awards. 

Johnson,  Dastman  N.  A.  (Am.)  Born  in  Maine.  As  a young 
man  he  began  the  practice  of  his  profession  by  the  execution  of  por- 
traits in  black  and  white,  showing  considerable  skill,  and  meeting 
with  some  success  in  that  branch  of  the  art.  Going  abi'oad,  he  studied 
for  two  years  in  Diisseldorf,  for  the  first  time  painting  in  oil.  He 
subsequently  studied  in  Italy,  Paris,  Holland,  and  at  The  Hague, 
where  he  remained  four  years,  and  executed  his  first  important  works, 
“ Card-Players,”  “ Savoyard  Boy,”  and  others.  Returning  to  Amer- 
ica, he  opened  a studio  in  New  York,  and  was  made  a member  of  the 
National  Academy  in  1860,  painting  those  original  sketches  and  pic- 
tures of  American  domestic  and  negro  life  in  which  he  so  decidedly 
excels.  Among  the  earlier  of  these  works  (many  of  which  have  been 
chromoed,  lithographed,  and  engraved)  are  his  “ Girls  by  the  Stove,” 
“Boys  at  the  Ragged  School,”  “Post-Boy,”  “Sunday  Morning,” 
“ Hard  Cider,”  “ Washington’s  Kitchen,  Mt.  Vernon,”  “ Old  Kentucky 
Home,”  “Crossing  a Stream,”  “ Chimney-Sweep”  (belonging  to  T.  R. 


12  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Butler),  “ The  Drummer-Boy,”  and  others  illustrative  of  the  life  of 
the  American  soldier  during  the  Civil  War.  He  sent  to  the  National 
Academy,  in  1869,  “The  Art-Lover”;  in  1871,  “The  Old  Stage- 
Coach”  ; in  1873,  “The  Woodland  Bath,”  “Catching  the  Bee,”  and 
“The  Sulky  Boy”  ; in  1874,  “The  Tea-Party,”  “Bo-Peep,”  and  “A 
Prisoner  of  State”;  in  1875,  “ Milton  dictating  to  his  Daughter,” 
“The  Toilet,”  and  “The  Peddler”;  in  1876,  “The  Husking-Bee  ” 
and  “The  New  Bonnet”;  in  1877,  “Dropping  Off”  (belonging  to 
E.  H.  Stoddard)  and  “ The  Tramp  ” ; in  1878,  portraits  of  Dr. 
Patten  of  Union  College,  Chief  Justice  Daly,  and  “Children  playing 
in  a Barn.”  At  the  Mechanics’  Fair,  Boston,  1878,  was  exhibited 
“The  Lullaby”  (belonging to  Mr.  E.  D.  Maynard). 

His  “New  England  Boy  at  Breakfast,”  “Chimney-Corner,”  and 
“Wandering  Fiddler”  were  in  the  Johnston  Collection,  the  last  selling 
for  $ 2,375.  His  “ Old  Kentucky  Home  ” (belonging  to  E.  L.  Stuart) 
was  in  the  Paris  E.xposition  of  1867,  and  the  American  Centennial 
Exhibition  of  1876.  His  “Old  Stage-Coach”  is  the  property  of 
George  Whitney;  “Sabbath  Morning,”  of  E.  L.  Stuart;  “Bo-Peep,” 
of  H.  Eichmond.  “ Tender  Passion  ” is  in  the  Walters  Collection  in 
Baltimore.  His  “ Corn-Husking”  and  “What  the  Sea  says”  were  at 
the  Paris  Exposition  of  1878.  His  “ Mother  and  Child”  belongs  to 
Abner  Mellen,  Jr.,  of  New  York. 

Among  Eastman  J ohuson’s  portraits  is  one  of  A.  B.  Stone. 

“ In  his  delineation  of  the  negro  Eastman  Johnson  has  achieved  a peculiar  fame. 
One  may  find  in  his  best  pictures  of  this  class  a better  insight  into  the  normal  character 

of  that  unfortunate  race  than  ethnological  discussion  often  yields ‘ The  Old 

Kentucky  Horae  ’ is  not  only  a masterly  work  of  art,  full  of  truth,  nature,  local  signifi- 
cance, and  character,  but  it  illustrates  a phase  of  American  life  which  the  late  war  and 
its  consequences  will  either  uproot  or  essentially  modify  ; and  therefore  this  picture  is 
as  valuable  as  a memorial  as  it  is  interesting  as  an  art  study.”  — TccKERiiAff’s  Hook  of 
the  Artists. 

“ In  genre  Mr.  Eastman  Johnson  contributed  the  ‘ Prisoner  of  State,’  ‘Tlie  Old  Ken- 
tucky Home,'  ‘Sunday  Morning,’  and  ‘The  Old  Stage-Coach,’  which  are  all  representa- 
tive of  the  acknowledged  excellence  of  his  style.  Mr.  Johnson’s  subjects  are  derived 
fresh  from  nature,  and  are  generally  illustrative  of  characteristic  traits  of  American  life 
and  customs.  Tliey  are  carefully  studied,  and  always  expressive  of  genuine  feeling. 
They  are  not  altogether  free  from  uncertainty  of  form  and  touch  and  monotony  of  tone, 
but  no  one  has  more  decided  individuality  and  independence  in  choice  and  treatment 
of  subject  than  this  artist.  His  pictures  bear  the  unmistakable  stamp  of  originality. 
We  are  never  reminded  in  them  of  the  influence  of  schools  or  foreign  methods  : they 
rest  upon  their  own  merits,  and  the  only  comparisons  they  suggest  are  those  afforded  by 
the  truths  of  nature.  ‘ The  Old  Kentucky  Home  ’ is  the  picture  that  firat  gave  him  his 
reputation,  which  every  succeeding  work  has  sustained  and  inere.ased.  ‘ The  Old  Stage- 
Coach  ’ displays  greater  maturity  of  method  and  breadth  of  treatment,  but  in  accurate 
delineation  of  character  ‘ The  Old  Kentucky  Home  ’ is  hardly  surpassed.  The  impres- 
sion made  by  Mr.  Johnson’s  pictures  is  a genuine  one.  We  instinctively  feel  that  the 
artist  himself  was  impressed,  and  sought  to  express  something  that  touched  his  sympa- 
thies forcibly.  This  is  their  interest  and  power,  and  criticism  starts  from  this  source 
rather  than  from  the  mere  pictorial  elemeirts  of  technical  merit  that  usually,  in  artists 
of  less  character,  first  engage  the  attention.”  — Pbof.  Weir’s  Official  Report  of  the  Ameri- 
can Centennial  Exhibition  o/lSTG. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  13 


Johnson,  Edward  Killingworth.  (Brit.)  Born  at  Stratford-le- 
Bovv,  near  London,  1825.  He  displayed  a marked  talent  for  art  at  an 
early  age,  but  lias  never  studied  under  any  masters.  For  some  yeai-s, 
however,  be  copied  at  the  Langham  Life  School,  and  has  drawn  a great 
deal  upon  wood.  He  began  painting  as  a profession  about  1863.  In 
1866  he  was  elected  an  Associate  of  the  Society  of  Painters  in  Water- 
Colors,  and  a full  member  in  1876.  He  resided  in  London  until  1871, 
when  he  removed  to  a small  ancestral  property  in  North  Essex,  wliere 
his  studio  still  is  (1878).  Among  his  more  important  works  are,  “ The 
Anxious  Mother”  (Water-Color  Exhibition  in  1876,  engraved  in  1878 
and  purchased  by  Birket  Foster),  “The  Reader”  (exhibited  in  Lon- 
don, 1874,  Birmingham,  1875,  and  owned  by  John  Jaffray  of  the  latter 
city),  “ A Golden  Swarm  ” (1877),  “ The  Rival  Florists  ” (exhibited 
in  New  York  in  1873,  and  belonging  to  G.  B.  Warren,  Jr.,  of  Troy, 
N.  Y.),  “A  Peep  into  the  Letter- Bag,”  and  “ Going  to  Bed”  (1878). 
He  sent  “A  Study”  to  the  Philadelpliia  Exhibition  of  1876,  and 
“The  Anxious  Mother”  to  the  Paris  Exposition  of  1878. 

“We  can  certainly  characterize  ‘ The  Rival  Florists’  as  one  of  the  most  remarkable 
pictures  of  its  kind  ever  brought  to  this  country.’’  — New  York  Times,  February  16,  1S73. 

“ Killingwortli  Johnson’s  ‘Intruders’  [New  York  Water-Color  Exhibition,  1876]  has 
been  received  witli  expressions  of  the  highest  praise.  Tlie  picture  is  open  to  criticism 
Iierhaps,  owing  to  the  absence  of  positive  shadows,  but  its  aim  is  so  high  and  its  motive 
so  elnarming  that  it  commands  admiration  in  spite  of  any  mere  defect.”  — Art  Journal, 
March,  1876. 

“ Mr.  E.  K.  Johnson  sends  only  one  contribution  to  this  exhibition,  but  in  that  he 
seems  to  have  determined  to  concentrate  all  tlie  beautiful  color  and  delicacy  and  brill- 
iancy cliaracteristic  of  his  work.  ‘ A Golden  Swarm  ’ takes  us  into  a garden  wliicli  is 
simply  a blaze  of  flowers  and  sunliglit.  Of  course  tlie  women  are  beautiful  women,  for 
Mr.  Johnson  does  not  admit  the  halt  and  the  lame  and  tlie  blind  into  these  eartlily  para- 
dises of  his Tlie  action  of  the  female  figure  in  the  center  of  the  picture  is  ex- 

tremely graceful,  and  the  child  beside  her  is  charming  in  attitude  and  expression.”  — 
London  Daily  News,  May  19,  1877. 

Johnson,  Frost.  (Am.)  Born  in  New  York,  1835.  After  copy- 
ing for  a short  time  in  Milwaukee  be  studied  for  two  years  under 
Professor  Cummings  in  the  Antique  and  Life  Schools  of  the  Academy 
of  Design,  in  his  native  city.  He  went  to  Europe  in  1859,  entering 
the  Art  Academy  of  Diisseldorf,  and  remaining  until  1861,  when  he 
became  a student  of  the  Academy  of  St.  Luke  in  Antwerp.  In  1863 
he  went  to  Paris,  drawing  in  I’Ecole  des  Beaux- Arts,  and  from  1865 
to  ’69  he  was  a pupil  of  Edward  Frere  at  Ecouen.  He  spent  some, 
time  in  the  practice  of  his  profession  in  London,  and  is  at  present  a 
resident  of  New  York.  Among  Frost  Johnson’s  earlier  pictures  may 
be  noted,  “Grandmother’s  Spectacles”  (belonging  to  Mr.  Morrill  of 
Boston),  “The  First  Whiff,”  “Cauglit  at  It,”  “The  Broken  Bot- 
tle,” and  “ The  Arithmetic  Lesson  ” (owned  in  Milwaukee,  Wis.). 
His  “Les  ponimes”  and  a “Study  of  an  Interior”  were  at  the  Paris 
Salon  of  1869,  and  at  the  National  Academy,  New  York,  some  years 
later.  His  “Roasted  Chestnuts”  belongs  to  S.  D.  Warren  of  Bos- 


14  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


ton;  “Good  Night”  and  a portrait,  to  G.  TV.  Hollis  of  the  same 
city.  Alvah  Hall  of  New  York  owns  “ La  petite  flaneuse.”  ilenzo 
Hiefendorf  of  New  Tork  owns  “Last  and  Best,”  which  was  painted 
for  the  Arcadian  Club.  “ The  Bouquet,”  portrait  of  Lad}’  Helena 
Blackwood,  is  in  the  collection  of  her  father,  Earl  Dufferin.  His 
“ Neglected  Les.son,”  “ Does  your  Mother  know  you  're  out  ? ” “ Love 
Me,  Love  Me  Not,”  “ Stitch  in  Time,”  and  others,  have  been  exhib- 
ited in  New  York,  Brooklyn,  Buffalo,  and  other  cities.  To  the  Phila- 
delphia Centennial  Exhibition  of  1876  he  contributed  “ Good  Night  ” 
and  “ A Thirsty  Party.” 

“ Frost  Johnson  is  profitably  occupied  with  several  pieces  of  still-life  which  are  prin- 
cipally remarkable  for  their  rich  and  subtle  contrasts  of  color The  artist’s  studies 

in  heads,  mostly  taken  abroad,  are  unique.  They  are  simply  studies  of  coloration  from 
Nature,  and  unite  individuality  of  color  with  strength  of  effect.”  — New  York  Herald, 
December  12,  1872. 

“Mr.  Frost  Johnson  has  recently  completed  a cabinet  picture,  the  central  and  only 
figure  of  which  is  if  portrait  of  the  daughter  of  the  Earl  of  Dufferin,  remarkable  not  only 
for  artistic  treatment,  but  for  the  thorough  mastery  with  which  conventional  laws  in  re- 
gard to  color  have  been  controlled  and  subordinated  to  the  final  and  most  admirable 
effect.”  — Baltimore  American,  October  13,  1877. 

“ Mr.  Frost  Johnson  has  just  completed  a picture  which  has  attracted  the  attention  of 
connoisseurs,  and  is  of  peculiar  interest,  not  only  for  the  admirable  finish  of  the  work, 
but  for  a certain  departure  from  the  recognized  conventions  of  art.  The  picture  is  a 
small  one,  only  cabinet  size,  and  was  painted  as  a portrait  of  the  young  daughter  of  the 
Earl  of  Dufferin,  but  the  arrangement  of  color,  the  distribution  of  accessories,  and  the 
effect  obtained  from  light  through  a draperied  window  is  so  thoroughly  fine,  and  in  some 
respects  original,  as  to  justify  the  high  approval  expressed  from  the  most  authoritative 
sources.”  — A’ew  York  Graphic,  October  1C,  1877. 

Johnston,  Alexander.  (Brit.)  Bom  in  Scotland,  1815.  Pupil 
of  the  Trustees  Academy  of  Edinburgh,  and  later  of  the  schools  of 
the  Royal  Academy.  Began  to  exhibit,  about  1835,  portraits  and  his- 
torical figure  pictures.  Among  his  earlier  works  are,  “ The  Mother’s 
Grave,”  in  1839  ; “ The  Gentle  Shepherd,”  in  1840  ; “ The  Cove- 
nanter’s Marriage,”  in  1842  ; “ Prince  Charley  and  Flora  Macdonald,” 
in  1847  ; “ The  Trial  of  Archbishop  Laud,”  in  1849  ; “ Tyndal  trans- 
lating the  Bible,”  in  1854  ; “John  Buuyan  in  Bedford  Jail,”  in  1861  ; 
and  “ The  Land  o’  the  Leal,”  in  1863.  His  “ Press-Gang  ” was  in  the 
International  Exhibition  of  1862,  and  his  “Last  Sacrament  of  Lord 
Russell  in  the  Tower,”  painted  in  1845  (belonging  to  the  Vernon  Col- 
lection), is  now  in  the  National  Gallery  of  London.  In  1868  he  sent 
to  the  Royal  Academy,  “The  Billet-Doux”  ; in  1370,  “ Juliet”  ; in 
1871,  “Isaac  TVatts  and  his  Mother”;  in  1873,  “The  Turning- 
Point”  ; in  1874,  “Tired”  ; in  1875,  “Ought  I to  do  it?”  ; in  1876, 

“ Bonnie  Lesley  ” and  “ The  Kettledrum-Quadrille  ” ; in  1877,  “ A 
Waif”  ; in  1878,  “Preparing  for  Conquest.”  His  “Turning-Point” 
was  at  the  Paris  Exposition  of  1878. 

“ The  figure  here  [‘  II  Penseroso/  by  Alexander  Johnston.  R.  A.,  1870]  is  of  a nun.  of 
stately  and  dignified  form,  ■who  lias  walked  forth  in  the  evening  twilight  and  stands  fixed 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  15 


in  contemplation  of  the  heavens.  The  conception  is  fine,  and  the  expression  of  the  face, 

though  somewhat  severe,  is  appropriate  to  tlie  sentiment The  license  taken  by  tlie 

artist  in  the  landscape  affects  in  no  degree  the  excellence  of  the  composition  as  an  ex- 
ample throughout  of  good  and  sound  painting  and  of  poetic  feeling.” — Art  Journal, 
May,  1S73. 

Jones,  George,  R.  A.  {Brit.)  (1786-  1869.)  Son  of  a well- 
known  mezzotint  engraver.  He  entered  the  Royal  Academy  in  1801, 
hut  he  joined  the  army  under  Wellington  on  the  breaking  out  of  the 
Peninsular  War,  and  did  not  practice  art  until  its  close  in  1815,  when 
he  painted  street-scenes  of  English  and  Continental  cities  for  some 
years  ; finally  turning  his  attention  to  war  subjects,  in  which  he  was 
very  successful.  Among  the  many  works  of  this  description,  painted 
during  his  long  career,  may  be  mentioned,  “Waterloo,”  “Lucknow,” 
“ Alma,”  and  “ Balaklava.”  He  painted  also  many  pictures  in  water- 
colors,  and  pictures  of  an  historical  character  in  oil,  the  more  impor- 
tant being  “ The  Coronation  of  George  IV.,”  “ The  Passage  of  the 
Reform-Bill,”  and  “ The  Opening  of  the  New  London  Bridge.”  His 
“ Fiery  Furnace,”  “ Lady  Godiva,”  and  two  battle-pieces  are  in  the 
National  Gallery,  London.  He  was  made  an  Associate  of  the  Royal 
Academy  in  1822,  and  Academician  in  1824,  Librarian  of  1834,  and 
Keeper  in  1850.  He  received  from  the  British  Institute,  in  1820,  a 
premium  of  £ 200  for  his  “ Waterloo.”  Several  of  his  pictures  have 
been  engraved. 

Jones,  Owen.  {Brit.)  Born  in  Wales  (1809  - 1874).  Spent  some 
years  in  the  office  of  a well-known  London  architect,  and  later  visited 
the  Continent  and  the  East.  He  was  one  of  the  superintending  archi- 
tects of  the  Crystal  Palace  at  Sydenham,  erected  in  1851,  devoting 
himself  particularly  to  its  decoration,  and  in  1873  he  received  a medal 
for  designs  furnished  for  the  Exposition  buildings  at  Vienna.  He  was 
well  known  as  a writer  on  subjects  connected  with  his  profession,  pub- 
lishing, in  1836,  his  “Alhambra,”  containing  over  a hundred  valuable 
plates  ; in  1842,  Views  on  the  Nile”  ; in  1856,  a “ Grammar  of  Or- 
nament,” and  several  handbooks  to  the  various  courts  of  the  Crystal 
Palace,  etc.  He  was  architect  of  St.  James’  Hall,  Piccadilly,  probably 
his  most  important  work. 

Jones,  Alfred.  {Am.)  Born  in  Liverpool,  1819.  Came  to  Amer- 
ica very  early  in  life.  He  received  the  first  prize  at  the  National 
Academy  of  Design  in  New  York,  in  1839,  for  a drawing  from  Thor- 
waldsen’s  Mercury.  “ The  Proposal,”  after  Durand,  and  “ The  Farm- 
ePs  Nooning,”  after  W.  S.  Mount,  first  called  attention  to  him,  and 
his  work  was  sought  for  the  illustrated  publications  of  the  day.  In 
1846  he  went  to  Europe.  Fie  there  studied  in  life  schools,  devoted 
himself  to  his  profession,  and  was  elected  a member  of  the  National 
Academy,  New  York,  in  1851.  He  sometimes  paints  in  oil  and  water- 
colors.  He  is  one  of  the  foremost  American  engravers.  His  plate  of 
the  “ Image-Breaker,”  after  Leutze,  is  one  of  his  best.  Among  his 
plates  are  Adoniram  Judson  (half  length,  sitting),  after  Chester  Hard- 


16  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


ing  ; WilUam  Cullen  Bryant  (head  and  full  bust),  after  A.  B.  Durand  ; 
“ The  Capture  of  Major  Andih,”  after  Durand  ; “ Sparking/’  after 
Edmonds  ; “ The  New  Scholar,”  after  Edmonds  ; “ Mexican  News,” 
after  R.  C.  Woodville  ; and  several  portraits. 

Jones,  H.  Bolton.  (Am.)  Born  in  Baltimore,  receiving  his  art 
education  and  spending  tlie  greater  part  of  his  professional  life  in  his 
native  city.  In  1877  he  made  a sketching-tour  in  Brittany  and  Spain, 
sending  the  results  of  his  labors  to  Baltimore,  where  several  of  his  pic- 
tures were  exhibited  in  1878.  . He  has  been  a regular  contributor  to 
the  National  Academy  since  1874,  where  he  sent  “ Summer  on  the 
Blue  Ridge,”  followed  in  other  seasons  by  “ September  Afternoon,” 
“ Hunter’s  Camp,  Maryland,”  “ Old  Fort  Ticonderoga,”  “ At  the 
Edge  of  the  Moor,”  “ The  Parable  of  the  Sower,”  “ After  the  Shower,” 
“ Spring  in  Brittany,”  and  “ Taking  Geese  to  Market.”  “ The  Ferry 
Inn”  was  at  the  Centennial  Exhibition  of  1876;  “Return  of  the 
Cows,  Brittany,”  at  the  Paris  Exposition  of  1878  ; and  to  the  Paris 
Salon  of  the  same  year  he  sent  “ A Heath  in  Bloom,  Brittany.” 

Jongkind,  Johan  Barthold.  (Dutch.)  Born  at  Latrop,  about 
1822.  He  left  Holland  at  an  early  age,  and  studied  marine-paintuig 
under  Isabey  at  Paris.  He  made  his  debut  at  the  Salon  of  1845,  and 
received  in  1852  a medal  of  the  third  class.  Perhaps  this  artist  is 
more  interesting  as  an  etcher  than  as  a painter.  Charles  Baudelaire, 
in  “ L’Art  Romantique,”  calls  him  a “ charming  and  candid  artist,”  and 
speaks  of  his  etchings  as  “abbreviations  of  his  painting”  and  sketches, 
which  amateurs  who  are  accustomed  to  find  the  soul  of  an  artist  in  his 
most  rapid  scrawls  (grihouillages)  will  know  how  to  read. 

“ The  piiri)Ose  of  his  art  as  an  etcher  may  he  explained  in  a few  words.  All  landseafw- 
painters  make  memoranda  of  impressions,  which  must  of  necessity  be  done  veiy  rapidly 
if  they  are  to  be  worth  anj'thing.  because  the  effects  in  nature  change  so  fast  that  they 
cannot  be  sketched  at  all  by  a slow  hand.  Jongkind  has  so  far  trusted  to  the  intelli- 
gence of  the  public  (or  of  the  small  cultivated  public  to  which  he  addresses  himself)  as 
to  make  memoranda  of  impressions  directly  upon  copper,  and  print  them.  This  is  the 
whole  exjilanation  of  his  work  as  an  etcher.  But  now  comes  the  person  living  outside 
of  art,  who,  when  he  sees  one  of  these  etchings,  feels  first  puzzled  and  then  offended, 
and  thinks  that  both  artist  and  laudatory  critic  must  be  making  fun  of  him.  ‘ Could 
not  any  child  of  ten  yeais  old  do  as  rvell?  ’ The  true  answer  to  this  question  (it  is  not 
an  imaginary  question)  is,  that,  rude  as  this  sketching  looks,  and  imperfect  in  many 
respects  as  it  really  is,  the  qualities  which  belong  to  it  are  never  .attained  in  art  without 
the  combination  of  talent  approaching  to  genius,  and  study  of  a very  observant  and 
earnest  kind,  quite  beyond  any  possible  experience  of  infancy.  The  right  way  to  esti- 
mate work  of  this  nature  is  to  look  upon  it  as  the  artist’s  manner  of  noting  down  an 
impression  in  all  its  freshness.  Jongkind  succeeds  in  doing  this,  either  by  an  uncon- 
sciousness which  is  itself  a great  gift,  or  else  by  an  effort  of  will  strong  enough  to  set 
himself  entirely  above  the  criticism  of  ignorance.  There  is  something  approaching  to 
sublimity  in  the  courage  which  was  needed  to  send  plates  of  this  description  to  the 
jnunter.  .\11  landscape-painters  have  made  memoranda  of  this  class,  though  they  rarely 
make  them  quite  so  well,  but  Jongkind  is  the  first  who  has  h.ad  the  courage  to  publish 
them.  It  seems  like  the  rashness  which  tenqits  Providence  to  set  these  things  before 
the  French  houTgeois  or  the  English  Philistine,  for  the  only  public  they  are  fit  for  is  a 
public  of  true  amateurs  or  artists  ; but  whoever  can  really  read  them  is  in  a fair  way  for 


ARTISTS  OF  THE  NINETEENTH  CENTURY. 


17 


■being  able  to  read  all  painting  that  sets  itself  bonestlj'  to  the  rendering  of  the  mutual 
impression  in  its  unity.”  — Hamerton,  Etching  and  Etchers. 

Some  of  the  best  of  these  etchings  are,  “ The  Town  of  Maaslins, 
Holland”  (1862),  “ Entrance  to  the  Port  of  Honfleur  ” (1863),  “Sortie 
du  Port  de  Honfleur  ” (1864),  and  “ View  of  the  Scheldt  at  Antwerp, 
— Setting- Sun  ” (1869).  Jongkind  has  exhibited  many  pictures  of 
Dutch  scenery  ; several  of  them  are  ■views  in  and  about  Dordrecht. 

Jooravlef,  F.  (Russian.)  Of  St.  Petersbm-g.  At  Philadelphia  he 
exhibited  a picture  of  “ The  Dinner  after  the  Funeral,”  for  which  he 
received  a medal.  The  same  work  was  at  the  Paris  Exposition  in 
1878,  together  with  “The  Blessing  of  the  Betrothed.” 

Jopling,  Joseph  M.  (Brit.)  Born  in  London,  1831.  Studying 
in  no  schools  and  under  no  masters,  he  has  spent  his  professional  life 
in  his  native  city,  with  the  exception  of  three  winters  devoted  to 
work  and  observation  in  Rome.  He  was  elected  an  Associate  of  the 
New  Society  of  Painters  in  Water-Colors  in  1859,  resigning  in  1876. 
He  received  a silver  medal  at  the  Crystal  Palace  in  1876,  and  a medal 
at  the  International  Exhibition  at  Philadelphia  the  same  year. 
Among  his  works  may  be  mentioned,  “The  Tea-Rose,”  “The  Fair 
Florist,”  “ Autumn,”  “ Joan  of  Arc  at  her  Trial,”  “ Baiting  the  Line,” 
etc.  To  Philadelphia,  in  1876,  he  sent  “Flossy”  (belonging  to  the 
Right  Hon.  Cooper  Temple),  “Winter,”  and  “ In  the  Conservatory.” 
At  the  Grosvenor  Gallery  in  1878  was  a portrait  of  M.  Rouzaud  in 
armor  of  the  sixteenth  centur}^  and  several  fruit  and  flower  pieces. 

Jopling,  Mrs.  Louise.  (Brit.)  Wife  of  Joseph  M.  Jopling.  She 
was  born  in  Manchester,  in  1843,  and  learned  to  draw  for  the  first  time 
in  1867.  She  studied  in  Paris  under  Charles  Chaplin  and  Alfred 
Stevens,  exhibiting  frequently  for  some  years  at  the  Royal  Academy, 
the  Dudley  and  Grosvenor  Galleries,  and  elsewhere  in  England. 
Among  her  more  important  works  are,  “Five-o’clock  Tea,”  at  the 
Royal  Academy  in  1874  (purchased  by  the  Me.ssrs.  Agnew),  “ The 
Modern  Cinderella,”  “It  might  have  been,”  etc.  Her  “Five  Sisters 
of  York  ” was  at  the  Philadelphia  Exhibition  of  1876  ; “ The  Modern 
Cinderella,”  at  the  Paris  Exhibition  of  1878. 

“ ‘The  Five-o’clock  Tea  ’ is  tlie  largest  and  most  important  design  we  have  seen  from 
Mrs.  Jopling’s  hand,  and  in  the  disposition  of  the  various  figures  and  the  management 
of  color,  it  certainly  exliibits  very  remarkable  technical  gifts.  Especially  do  we  notice 
in  this  lady’s  work  a correct  understanding  of  the  laws  of  tone,  very  rare  to  find  in  the 
works  of  English  painters,  giving  the  artist  power  to  bring  different  tints,  even  if  they 
are  not  harmonious,  into  right  relations  one  with  another.  ” — Art  Journal,  July,  1S74. 

Jordan,  Rudolf.  (Ger.)  Born  at  Berlin,  1810.  Member  of  the 
Academies  of  Berlin,  Dresden,  and  Amsterdam,  and  Knight  of  several 
Orders.  Medal  at  Philadelphia.  Pupil  of  the  Academy  of  Berlin 
and  of  Wach.  He  at  first  painted  religious  .subjects,  but  is  most  ad- 
mired in  (jenre  pictures.  At  the  National  Gallery,  Berlin,  are,  “ The 
Offer  of  Marriage  in  Heligoland,”  “ Death  of  a Pilot,”  “A  Scene  in 
Normandy,”  “An  Old  Man’s  Home  in  Holland,”  and  “ The  Widow’s 

B 


18  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Consolation”  ; the  last  is  in  the  National  Gallery,  Berlin,  and  ■was 
sent  to  the  Paris  Exposition  in  1878.  The  “ Offer  of  Marriage  ” is  the 
first  work  which  gave  him  reputation.  Jordan  is  also  a -writer  on  art, 
and  is  much  interested  in  its  history.  At  Berlin  in  1876  he  exhibited 
“The  Boats  have  all  returned  ; One  alone  is  wanting.” 

Jouffroy,  Francois.  (Er.)  Born  at  Dijon,  1806.  Member  of 
the  Institute.  Officer  of  the  Legion  of  Honor.  Grand  friz  de  Rome 
in  1832.  Professor  of  Sculpture  at  I’Lcole  des  Beaux-Arts.  Hi.s 
“ Ingenuousness;  or,  a Young  Girl  telling  her  First  Secret  to  Venus  ” 
is  at  the  Luxembourg.  Jouffroy  has  executed  various  busts  for  private 
persons,  and  a “ Benitier  ” for  the  church  of  Saint-Germain-l’Auxer- 
rois,  Paris,  from  the  design  of  Mme.  Lamartine.  He  was  charged 
with  the  decoration  of  the  ne-w  church  of  Saint-Augustiu,  and  has 
done  many  other  decorative  works  for  public  ecbfices. 

Jourdan,  Adolphe.  (Fr.)  Born  at  Nimes.  Medals  in  1864, '66, 
and ’69.  Pupil  of  Jalabert.  At  the  Salon  of  1877  he  e.xhibited  “A 
Breakfast  at  Saint-Honorat”  ; in  1876,  “The  Good-By”  and  “The 
Three  Friend.s.”  At  the  Johnston  sale,  New  York,  1876,  “A  Young 
Italian  Mother”  (39  by  31)  sold  for  $ 2,300.  At  the  Salon  of  1878 
be  exhibited  a portrait  and  “ The  Banks  of  the  Garden.” 

Jundt,  Gustave.  (Fr.)  Born  at  Strasbourg,  1830.  Medals  in 
1868  and  ’73,  and  at  Philadelphia,  1876.  Pupil  of  Guerin,  and  (at 
Paris)  of  Drolling  and  Biennourry.  He  traveled  somewhat,  and  ma^le 
bis  debut  at  the  Paris  Salon  in  1856  with  the  “Fete  of  the  Village.” 
Since  then  he  has  sent  works  to  nearly  every  Salon,  among  which 
may  be  named,  “ Near  a Fountain,”  “ Alpine  Strawberries,”  “ May- 
flowers,” “ Cutting  Hair  at  the  Fair  of  La  Tour  in  Auvergne  ” (sent 
to  Philadelphia),  “ It  Rains  ! — Swiss  Oberland,”  “ The  Pence  of  St. 
Anne,”  “ Sunday  Morning,”  “ The  Time  of  the  Wedding,”  etc. 

This  artist  also  makes  many  caricatures  and  illustrations  for  publi- 
cations, such  as  “ L’Histoire  de  la  Poupee,”  “ Le  Poltron,”  “ Polichi- 
nelle,”  etc. 

“ He  draws,  as  one  walks,  without  seeming  thought,  and  he  paints,  as  one  talks, 
always  improvising.  Only  tliere  are  some  men  who  have  a good  appearance  in  walking, 
while  they  scarcely  think  of  it,  and  those  wlio  talk  with  wit  and  humor  without 
making  any  pretensions.  It  is  precisely  in  this  manner  that  Jundt  paints.  His  pic- 
tures have  some  pipiant  improvisations  in  which  malice  overflows  ; gawky  awkward- 
ness takes  under  Ids  lively  and  anim.ated  touch  an  air  of  amusing  good-nature.  .... 
As  a painter  he  may  be  reproached  with  certain  defeats,  but  he  possesses  one  very  rare 
quality,  he  has  incontestable  originality.  Jundt  is  one  of  the  few  who  might  dispense 
with  sign.atures  on  his  pictures. ” — RENi:  Mkkard,  L'Art  en  Alsace-Lorraine. 

Kaemmerer,  Frederic  Henri.  (Dutch.)  Born  at  the  Hague. 
Medal  at  Paris  in  1874.  Pupil  of  Gerdme.  At  the  Salon  of  1877 
he  exhibited  “A  Party  at  Cricket”  ; in  1875,  “A  Winter  Day  in 
Holland”  ; in  1874,  “The  Beach  at  Scheveningen,” now  in  the  Cor- 
coran Gallery  at  Washington.  At  the  Latham  sale,  New  York, 
1878,  “ Autumn,  — Terrace  of  the  Tuileries,  1790  ” (24  by  16)  sold 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  19 


for  $ 1,125.  Knoedler  & Co.  exhibited,  in  1878,  bis  “ Going  to 
Churcb  in  tbe  Olden  Time.”  At  tbe  Salon  of  1878  be  exhibited  “A 
Baptism.” 

Kalckreuth,  Stanislaus,  Count  of.  (Pole.)  Born  at  -Kozmin, 
1821.  Professor  and  member  of  the  Academy  of  Berlin,  and  member 
of  the  Academies  of  Amsterdam  and  Rotterdam.  Medals  at  Berlin, 
Vienna,  and  Bordeaux.  Studied  in  Berlin  and  Polnisch-Lissa. 
After  several  years  of  military  life  he  studied  under  Krause  and 
Schirmer.  His  progress  attracted  the  attention  of  the  King,  who 
gave  him  commissions.  In  1860  an  art  school  was  established  at 
Weimar  by  the  Grand  Duke  of  Saxony,  and  Kalckreuth  became 
its  conductor.  During  student  travels  which  he  made  he  visited 
Switzerland  and  Spain,  saw  a large  part  of  Germany,  and  spent  some 
time  in  Vienna.  In  1876  he  gave  iip  his  office  at  Weimar  and  set- 
tled in  Kreuznach.  His  representation  of  Alpine  scenery  is  espe- 
cially happy,  and  remarkable  for  the  effects  of  light  and  shade.  At 
the  National  Gallery,  Berlin,  are  his  “ Lake  of  Gaube  in  the  Upper 
Pyrenees”  and  “Canagai  Valley  in  the  Eastern  Pyrenees.”  At  Ber- 
lin, in  1876,  he  exhibited  the  “ Lake  of  Thun.”  At  the  Paris  Expo- 
sition of  1878  was  seen  his  “ Mont  Blanc”  (belonging  to  the  Emperor 
of  Germany). 

Kaufmann,  Theodor.  (Ger.-Am.)  Born  in  Hanover,  1814. 
Studied  art  in  Hamburg  and  at  Munich,  where  he  was  a pupil  of 
Hess.  He  practiced  his  profession  for  a few  years  in  Europe,  settling 
in  America  in  1850.  Among  the  better  known  of  his  pictures 
painted  in  this  country  are,  “ On  to  Liberty,”  “ A Railway  Train  at- 
tacked by  Indians,”  and  “ General  Sherman  near  the  Watchfire.” 

In  1871  he  published  a work  entitled  “The  American  Painting- 
Book.”  He  resided  in  Boston  for  some  years. 

Kaulbach,  Wilhelm  von.  (Ger.)  Born  at  Arolsen  (1805  - 1874). 
Officer  of  the  Legion  of  Honor.  Correspondent  of  the  Institute.  He 
received  many  decorations,  and  was  member  of  several  academies. 
At  the  age  of  seventeen  he  was  placed  in  the  Academy  of  Diisseldorf, 
then  under  the  direction  of  Cornelius.  When  twenty-one  he  went  to 
Munich.  Six  allegorical  frescos  in  the  arcade  of  the  Hofgarten  were 
among  his  earliest  works  there.  Before  he  was  twenty-five  he  exe- 
cuted “ Apollo  and  the  Muses,”  in  the  Odeon,  and  the  celebrated  design 
called  “ The  Mad-House.”  He  next  painted  sixteen  illustrations  of 
the  story  of  “ Cupid  and  Psyche,”  on  the  walls  of  the  palace  of  the 
Duke  klaximilian  ; then,  together  with  tie  painter  Schnorr  and  the 
sculptor  Schwanthaler,  he  worked  at  the  decoration  of  the  new  pal- 
ace of  King  Ludwig.  He  com]3leted  his  design  for  the  “ Battle  of 
the  Huns”  in  1837  ; it  was  a chef-d’ceuvre.  About  the  same  time  he 
completed  the  cartoon  of  the  “ Destruction  of  Jerusalem,”  the  paint- 
ing from  which  was  not  made  until  eight  years  later,  when  King 
Ludwig  purchased  it.  In  1846  his  designs  illustrative  of  “ Reynard 


20  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


the  Fox  ” appeared.  He  also  illustrated  the  Gospels  and  the  Shaks- 
pere  gallery.  Kaulhach  devoted  many  years  to  the  great  decorative 
paintings  of  the  “ Treppenhaus  ” of  the  new  Museum  at  Berlin.  His 
subjects  here  were,  “ The  Tower  of  Babel,”  “ Destruction  of  Jerusa- 
lem,” and  “ Battle  of  the  Huns  ” (reproduced),  colossal  figures  of 
Moses,  Solon,  History,  Legend,  etc.,  and  “ The  Reformation,”  besides 
friezes  which  were  designed  as  borders  for  the  principal  works.  In 
1867  he  sent  to  Paris  his  “ Epoch  of  the  Reformation,”  a cartoon 
of  which,  belonging  to  Mr.  Durfee  of  Fall  River,  was  for  some  time 
in  the  Boston  Athenaeum.  For  this  painting  he  received  a medal  of 
honor.  Vapereau  says  : “ It  united  all  his  qualities  of  composition, 
drawing,  and  color.”  In  the  National  Gallery  at  Berlin  are  his  car- 
toons of  “ The  Death  of  the  Marquis  Posa,”  and  one  of  a scene  from 
the  “ Mary  Stuart  ” of  Schiller.  Mr.  Probasco  of  Cincinnati  has  a 
beautiful  work  by  Kaulbach  called  “ Mutterliebe  ” (“  Mother-Love  ”). 
It  was  painted  for  Mr.  Probasco,  and  he  claims  that  it  is  the  only 
original  painting  by  Kaulbach  in  America.  It  represents  a mother 
with  her  four  children.  She  is  seated  beneath  a tree  in  the  midst  of 
a pleasing  landscape.  In  her  right  arm  she  holds  one  child,  whose 
face  is  hidden  on  her  breast ; with  her  left  hand  she  supports  another 
tiny  one,  who  stands  upon  her  knee  and  presses  his  hps  to  hers  in  a 
playful  baby  embrace.  Two  larger  children,  one  upon  the  ground 
and  another  climbing  up  behind  and  resting  on  the  mother’s  shoulder, 
complete  the  group,  which  is  well  balanced  and  graceful. 

“I  have  extolled  Kaulbach  in  no  stinted  terms,  yet  1 know  that  his  mortality  is  be- 
trayed through  his  robes  of  state.  His  limits  are  confessed  when  he  rushes  towards  the 
illimitable  : his  finality  is  felt  when,  in  boldest  flight,  he  steals  fire  from  heaven.  Kaul- 
bach has  many  virtues,  but  moderation  is  not  of  their  company.  Kevertheless,  let  me, 
in  fine,  recapituliite  the  claims  which  Kaulbach  lays  upon  the  remembrance  of  posterity. 
His  subjects,  his  styles,  and  his  materials,  which  are  many,  are  alike  worthy  of  note. 
His  themes,  we  have  seen,  are  wide  in  range  and  lofty  in  aspiration.  History  in  epochs 
which  are  landmarks  in  the  world’s  civilization  ; philosophy  that  teaches  through  exam- 
ple : poetry  as  manifested  in  the  creations  of  Shakspere  and  Goethe ; life  in  its  light 
and  shade,  in  the  climax  of  its  joy  and  the  depths  of  its  sorrow,  — such  are  the  subjects 
which,  in  their  diversity  and  import,  measure  the  genius  and  circumscribe  the  labors  of 
Kaulbach.  In  style,  too,  as  in  subject,  this  painter  displays  the  same  versatility ; by 
turns  he  is  grave  and  gay.  Like  dramatists  and  actors  of  first  quality,  he  is  great  at 
once  in  comedy  .and  in  tragedy  : his  impersonations,  in  short,  are  close  upon  the  models 
of  Phidias  and  Raphael,  of  Diirer  and  Hogarth.  The  name  of  Kaulb,ach  will  also  be 
identified  with  the  most  successful  efforts  to  free  art  from  the  tyranny  of  the  Church,  to 
ennoble  secular  subjects  by  lofty  thought  and  elevated  treatment,  and  to  raise  the  prac- 
tice of  monumental  painting  to  an  equality  with  the  sister  arts  of  sculpture  and  archi- 
tecture. Such  are  the  serrtces  which  Kaulbach  has  conferred  upon  his  age  and  coun- 
tiy." J.  Beavington  Atkinsox,  London  Art  Journal,  December,  1S65. 

Kaulbach,  Hermann.  (Ger.)  Son  of  the  preceding,  and  a pupil 
of  Piloty.  He  is  an  historical  p.ainter  who  merits  attention. 

Kaulbach,  F.  A.  (Ger.)  This  painter  is  a distant  relative  of  the 
late  William  von  Kaulbach,  and  is  one  of  the  rising  artists  of  Munich. 
Some  of  his  pictures  are  very  pleasing,  and  show  a genuine  feeling  for 


AETISTS  OF  THE  NINETEENTH  CENTURY.  21 


ideal  art.  At  the  Exposition  of  1878  he  exhibited  “Reverie,”  “ Por- 
trait of  a Young  Gii'l,”  “ Young  Woman  with  her  Son,”  and  a “ Head 
of  a Woman.” 

Kemys,  Edward.  {Am.')  Born  in  Savannah,  Ga.  He  lived  for 
some  time  in  New  York.  By  profession  a sculptor,  he  has  devoted 
himself  particularly  to  the  modeling  of  the  more  prominent  wild 
animals  of  the  far  West  of  America  ; a collection  of  groups  in  plaster 
by  him,  which  were  exhibited  in  London  in  1877,  attracted  much  at- 
tention. His  “ Coyote  and  Raven,”  “ Playing  ’Possum,”  and  “ Pan- 
ther and  Deer”  were  at  the  Exhibition  at  Philadelphia  in  1876;  “Fight 
between  Buffaloes  and  Wolves,”  at  the  Paris  Salon  of  1878. 

“In  anatomical  knowledge  Kemys  appears  to  ns  little,  if  at  all,  behind liis  predecessor 
[Barye],  and  if  he  be  Barye’s  inferior  in  audacity  and  splendor  of  conception,  he  partly 
comjiensates  for  this  by  a subtle  perception  of  delicate  shades  of  character,  and  a line 
discrimination  of  animal  individuality,  in  which  Barye’s  works  are  comparatively  de- 
ficient.” — London  Spectator,  December,  1877. 

Kensett,  J.  F.,  N.  A.  (Am.)  Born  in  Cheshire,  Ct.  (1818  - 1873). 
As  a youth  he  studied  bank-note  engraving,  and  practiced  art  in  his 
leisure  hours.  He  finally  went  to  England,  where  he  worked  for  some 
time,  sending  to  the  Royal  Academy,  in  1850,  “A  View  of  Windsor 
Castle,”  which  was  highly  praised  by  the  London  art  critics.  He  re- 
mained in  Europe  seven  years,  spending  two  years  in  Rome,  making 
excursions  to  Naples,  Switzerland,  the  Rhine,  and  the  Italian  lakes, 
and  sending  home  many  cleverly  executed  paintings  and  sketche.s, 
some  of  which,  exhibited  in  the  Art  Union  Gallery,  New  York,  estab- 
lished his  reputation  in  America  as  a landscape-painter  of  no  common 
merit.  His  views  of  American  scenery  have  become  justly  popular. 
Among  them  are,  “ Sunset  on  the  Coast,”  “ Sunset  in  the  Adirondacks,” 
“Lake  George,”  “Scenes  on  the  Genesee  River,”  “Noon  on  the  Sea- 
Shore  ” (engraved  by  S.  V.  Hunt),  “ Beverly  Coast,”  “ Bash  Bish,” 
“From  the  Meadows  at  Cold  Spring,”  “ Narragansett,”  “Lake  Cone- 
sus”  (belonging  to  Robert  Hoe),  “ Mount  Washington,”  “ Keene  Flats,” 
“Bass  Rock,  Neu’port,”  etc.  His  “Morning  off  the  Coast  of  Mas- 
sachusetts ” (belonging  to  Shepherd  Gandy),  “ Newjiort  Harbor  ” 
(to  R.  M.  Olyphant),  “ Glimpse  of  the  White  Moiintains  ” (to  R.  S. 
Stuart),  were  in  the  Paris  Exposition  of  1867.  His  “View  near 
Northampton  ” (property  of  R.  S.  Stuart),  “ Lake  George  ” (the  prop- 
erty of  M.  K.  Jessup),  and  his  “ New  Hampshire  Scenery  ” (now 
in  the  Century  Club),  were  at  the  Philadelphia  Exhibition  of  1876. 
At  the  Johnston  sale,  in  1876,  his  “Afternoon  on  the  Connecticut 
Shore”  sold  for  $ 1,500,  and  his  “ Secluded  Brook  ” (belonging  origi- 
nally to  A.  M.  Cozzens)  brought  $ 600.  His  “ White  Mountains  ” 
(at  the  Wright  sale,  some  years  before)  was  sold  for  $ 1,300.  His 
“ October  Afternoon,  Lake  George,”  exhibited  in  Paris  in  1867,  and 
at  the  Sanitary  Fair,  New  York,  in  1864,  at  the  sale  of  the  Olyphant 
pictures  in  1877,  found  a purchaser  at  $6,300.  His  “White  Moun- 


22  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


tains  ” was  sent  to  the  Paris  Exposition  of  1878.  Kensett  was  made 
a member  of  the  National  Academy  in  1849. 

“ Kensett  is  the  Bryant  of  our  painters  ; a little  sad  and  monotonous,  but  sweet,  ar- 
tistic, and  unaffected.  In  his  later  pictures  there  is  a phantom-like  lightness  and  cold- 
ness of  touch  and  tint  which  gives  them  asnmewhat  unreal  aspect,  but  they  take  all  the 
more  hold  on  the  fancy  for  their  lyrical  quaUties. ” — Jarves,  Art  Idea. 

“ Kensett’s  best  picdures  exhibit  a rare  purity  of  feeling,  an  accuracy  and  delicacy, 
and  especially  a harmonious  treatment,  perfectly  adapted  to  the  subject  ....  If  we 
desired  to  carry  abroad  genuine  memorials  of  native  scenery,  to  keep  alive  its  impressions 
in  a foreign  land,  we  should  select  half  a dozen  of  Kensett’s  landscapes.  Other  artists 
may  have  produced  single  pictures  of  more  genius,  may  be  in  certain  instances  supe- 
rior, but  on  tlie  whole,  for  average  success,  Kensett’s  pictures  are,  we  do  not  say  the 
most  brilliant,  effective,  or  original,  but  often  the  most  satisfactory."  — Tcckermax’s 
Book  of  the  Artists. 

Key,  John  R.  (Am.)  Native  of  Baltimore.  He  studied  art  in 
Munich  and  Paris,  painting  in  Boston  for  some  years,  and  exhibiting 
there,  in  1877,  about  one  hundred  of  his  pictures,  including  “ Marble- 
head Beach,”  “ Ochre  Point,  Newport,”  “ Morning  Stroll,”  and  a view 
of  “ The  Golden  Gate,  San  Francisco,”  for  which  he  received  a medal 
at  the  Philadelphia  Exhibition  of  1876.  His  “Cloudy  Morning, 
Mount  Lafayette  ” was  at  the  National  Academy,  New  York,  in  1878. 
He  has  been  very  successful  in  his  works  in  black  and  white. 

“Mr.  Key’s  charcoal  drawings  are  among  the  best  eversho^vn  in  Boston  ; they  are  firm 
and  masterly  in  drawing,  strong  in  effect,  and  graceful  in  composition.  Mr.  Key  ha.s  a 
fascinating  skill  in  this  kind  of  work,  in  which  he  approaches  nearer  to  .Mlongii  than  any 
other  American  artist  Tlie  collection  of  his  pictures  is  highly  attractive  for  the  true 
artistic  feeling  in  all  the  works  on  exhibition.”  — Boston  Saturday  Gazette,  1S77. 

Keymeulen,  Emile.  {Belgian.)  Of  Brussels.  Medal  at  Philadel- 
phia, where  he  exhibited  “ Landscape  in  Provence  ” and  “ After  the 
Hurricane.” 

Keyser,  Nicaise  de.  {Belgian.)  Born  at  Santoliet,  1813.  Presi- 
dent of  the  Academy  of  Antwerp,  and  Chief  Director  of  the  Mu.seum 
of  that  city.  Corresponding  member  of  the  Institute  of  France,  and 
Officer  of  the  Legion  of  Honor.  Chevalier  of  the  Order  of  Leopold, 
and  that  of  the  Lion  of  the  Netherlands.  Medal  at  Philadelphia. 
Pupil  of  the  Antwerp  Academy  under  the  direction  of  Van  Bree.  In 
1834  he  exhibited  “ A Crucifi.xion,”  which  had  been  painted  for  a 
Roman  Catholic  church  in  Manchester,  England  ; it  attracted  con- 
siderable attention.  He  went  soon  after  to  France  and  England,  and 
returned  through  Holland.  In  1836  his  picture  of  “The  Battle  of  the 
Golden  Spurs  in  1302  ” was  exhibited  at  Brussels,  and  won  the  great 
gold  medal ; this  work  is  now  in  the  Museum  of  Courtrai.  In  1839 
he  exhibited  the  “ Battle  of  lYoeringen,”  which  took  a gold  medal  in 
Paris.  De  Keyser  then  visited  Italy  and  Germany.  The  “ Battle  of 
Nieuport”  and  that  of  “ Seneffe  ” were  painted  for  William  II.  of 
Holland.  Among  his  other  works  are,  “ Yandyck  setting  out  for 
Italy,”  “ Mending  in  the  Hospital  at  Bruges,”  “ Christ  and  his  Dis- 
ciples,” “ The  Last  Moments  of  Weber,”  etc.  His  portraits  of  royal 


ARTISTS  OF  THE  NINETEENTH  CENTURY. 


23 


and  distinguished  persons  are  numerous.  The  courts  of  Belgium, 
Sweden,  Bavaria,  and  Wurtemherg  have  conferred  decorations  upon 
him,  as  well  as  that  of  France.  (The  list  of  honors  given  in  this  article 
is  taken  from  the  London  Art  Journal,  of  January,  1866.)  At  the 
Wolfe  sale  in  New  York  in  1864,  “ The  Love-Test,  — Italian  Gleaners  ” 
sold  for  ^ 3,100,  and  “Milton  and  his  Daughters  ” for  $ 2,400.  At 
the  Berlin  National  Gallery  are  his  “ Giaour”  and  “ Death  of  Marie 
de’  Medici.”  Mr.  Probasco  of  Cincinnati  has  his  “Francis  I.  at 
Fontainebleau,”  painted  in  1869. 

Keyset,  B.  (Am.)  Born  in  Baltimore,  1850.  He  received  his  art 
education  in  the  Royal  Art  Academy  of  Munich,  under  Professor 
Widmann,  and  in  the  Royal  Art  Academy  of  Berlin  under  Professor 
Albert  Wolff.  He  went  to  Munich  in  1872,  remaining  until  the 
autumn  of  1876.  In  Berlin  he  received  “the  Michael  Beerche  Prize” 
for  a life-sized  figure,  called  “ Psyche.”  This  prize  entitles  the  suc- 
cessful competitor  to  one  year’s  study  in  Rome  at  government  expeiise. 
Among  his  most  successful  works  are  the  “ Psyche,”  and  “ The  Toy- 
ing Page  ” (in  bronze),  belonging  to  Dr.  O’Donavan  of  Baltimore,  ibr 
which  he  gained  the  silver  medal  of  the  Munich  Academy. 

EZiers,  Peter.  {Dutch.)  Born  at  Graeneveld,  1807.  Member  of 
the  Academy  of  Amsterdam.  Pupil  of  Douwe  de  Hoop.  A genre 
painter.  He  was  specially  noted  for  his  effects  of  light.  Among  his 
subjects  are,  “A  Woman  going  out  of  her  House  at  Evening  ” (effect 
of  lanterns),  “Woman  reading  the  Bible,”  “Woman  writing  a Let- 
ter,” “ Interior  of  a Dutch  House,”  etc. 

King,  Charles  B.  (Am.)  (1786-1862.)  Studied  with  Leslie 

and  Allston  in  London,  living  and  painting  portraits  in  that  city  for 
some  years.  Finally  settled  in  Washington,  D.  C.,  where  he  died. 
During  his  long  career  many  of  the  celebrities  of  all  countries  who 
visited  the  capital  were  among  his  sitters.  His  portraits  were  prized 
for  their  accuracy  rather  than  their  delicacy  of  finish. 

Kiorboe,  Charles  Frederic.  (Swede.)  Born  at  Stockholm  (1815 
-1876).  Chevalier  of  the  Legion  of  Honor.  Pupil  of  Henner.  In 
1874  he  exhibited  at  the  Paris  Salon,  “A Fox  surprised  by  Hunters” 
and  “A  Buck  coming  out  of  a Wood”  ; in  1870,  “The  Breakfast  of 
the  Foxes”  ; in  1869,  “Hunting  Ducks.”  At  a London  sale  in  1874 
his  “ Inundation  ” sold  for  260  guineas. 

Kiss,  Augustus.  (Prussian.)  Born  at  Pless  (1802- 1865).  Member 
of  the  Berlin  Academy,  where  he  was  also  Professor.  Studied  at  the 
same  Academy  under  Ranch.  In  1839  he  exhibited  the  model  of  his 
famous  group  of  “ The  Amazon  struggling  with  a Panther.”  This 
was  cast  in  bronze  by  means  of  public  subscriptions,  which  were  even 
taken  in  the  churches,  so  great  was  the  enthusiasm  it  excited.  It  was 
placed  in  the  Berlin  Museum  in  1845.  A plaster  cast  of  it  took  the 
first  prize  at  London  in  1851,  and  was  purchased  by  an  American. 
Among  his  works  are,  “The  Fox-Hunt”  (Berlin  Museum),  “St. 


24  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Michael  and  the  Dragon,”  statues  of  Frederick  the  Great  and  Fred- 
erick William  III.,  “ St.  George,”  etc.  At  the  time  of  his  death  a 
group  called  “Faith,  Hope,  and  Charity”  was  unfinished;  this  was 
completed  by  Blaser,  and,  with  a bust  of  Kiss,  was  presented  bj*  his 
widow  to  the  Berlin  Museum. 

Klein,  Johann  Adam.  {Ger.)  Bom  at  Nuremberg  (1792-1875). 
This  artist  first  studied  etching  and  engraving.  He  spent  some  time 
at  the  Academy  of  Vienna,  and  commenced  oil-painting  in  1815. 
Soon  after  this  he  went  to  Rome.  He  gave  his  efforts  to  reproducing 
the  peculiar  costumes  and  habits  of  different  peoples.  He  had  trav- 
eled in  Northern  countries,  and  his  industry  and  diligent  observation 
made  him  skillful  in  his  peculiar  work.  At  the  National  Gallery, 
Berlin,  are  his  “Hungarian  Wagoners”  and  “The  Wallachian 
Freight-Wagon  ” ; also,  “An  Animal-Tamer  before  a Tyrolese  Inn.” 
Klein’s  engravings  are  numerous  and  highly  esteemed. 

Kloeber,  August  Karl  Friedrich  von.  (Ger.)  Bom  at  Breslau 
(1793-1864).  Professor  and  member  of  the  Berlin  Academy.  Pu- 
pil of  Berlin  Academy.  During  the  war  of  1813  Kloeber  was  a sol- 
dier, and  afterwards  spent  nearly  four  years  at  Vienna.  He  affected 
the  manner  of  Rubens  and  Correggio.  His  portraits  of  Beethoven, 
Grillparzen,  etc.,  are  well  spoken  of.  His  first  large  picture  was  that 
of  the  “Virgin  Mary  with  Jesus  and  St.  John.”  At  the  theater  of 
Breslau  he  painted  a frieze  and  other  decorative  works.  In  1821  he 
went  to  Italy,  and  spent  seven  years  in  Rome.  Kloeber  executed  va- 
rious decorative  paintings  in  the  palaces  and  public  buildings  of  Ber- 
lin. Several  of  his  pictures  are  in  the  National  Gallery,  Berlin,  — 
“ Education  of  Bacchus,”  “ Cupid  and  Psyche,”  etc. 

Kuaus,  Ludwig.  (Ger.)  Born  at  Wiesbaden,  1829.  Member  of 
the  Academies  of  Berlin,  Vienna,  Munich,  Amsterdam,  Antwerp,  and 
Christiana.  Officer  of  the  Legion  of  Honor.  Knight  of  the  Order 
of  Merit.  Various  medals  at  Paris,  Berlin,  Weimar,  etc.  Pupil  of 
Jacobi  and  the  Academy  of  Diisseldorf,  under  Sohn  and  Schadow. 
He  separated  himself  from  their  influence,  and  was  allied  with  Le.s- 
sing,  Leutze,  and  Webber.  From  1853  he  lived  eight  years  in  Paris, 
but  settled  at  Diisseldorf  in  1866.  Among  his  worki!  are,  “ The  Prom- 
enade” (1855),  at  the  Luxembourg,  “ Peasants  reprimanded  by  their 
Priest,”  “ A Woman  playing  with  Two  Cats,”  “ The,  Wife  of  a Shoe- 
Tnaker,  her  Child,  and  an  Apprentice  contemplating  a Mouse  in  a 
Trap,”  “ The  Invalid,”  “ A Woman  gathering  Flowers,”  etc.  At  the 
Johnston  sale.  New  York,  1876,  “The  Old  Beau,”  from  the  Wolfe 
sale  in  1863  (24  by  19),  sold  for  $ 3,000.  In  1874,  at  Christie’s  in 
London,  “ Thieves  at  a Fair  ” sold  for  565  guineas.  At  the  Forbes 
sale,  London,  1874,  “The  Sisters”  sold  for  1,250  guineas.  At  the 
Sedelmeyer  sale  in  Vienna,  1873,  “Maternal  Kindness”  brought 
.£1,440.  His  “ Children’s  Festival  ” is  at  the  National  Gallery,  Berlin. 
At  the  Latham  sale.  New  York,  1878,  “ My  Little  Brother  ” (IS  by  14) 


ARTISTS  OF  THE  NINETEENTH  CENTURY. 


25 


sold  for  $ 2,200,  and  “After  the  Bath  ” (8|  by  6|),  for  $ 2,350.  His 
“Priest  and  Poacher”  belongs  to  Mr.  T.  B.  Butler  of  New  York. 

Knight,  John  Prescott,  R.  A.  {Brit.)  Born,  1803.  He  was  the 
son  of  Edward  Knight,  a well-known  actor,  and  began  life  in  a mer- 
chant’s office  in  London.  Displaying  a decided  taste  for  art,  he 
studied  under  Henry  Sass,  and  later  under  George  Clint,  entering 
the  schools  of  the  Royal  Academy  in  1823.  His  first  pictures  were 
at  the  British  Institute  in  1827  or  ’28.  He  turned  his  attention  to 
portrait-painting,  in  which  branch  of  art  he  has  been  very  success- 
ful. He  was  made  an  Associate  of  the  Royal  Academy  in  1836, 
Academician  in  1844.  He  was  Professor  of  Perspective  for  many 
years,  and  Secretary  of  the  Royal  Academy  from  1847  to  ’73,  when 
he  resigned  with  a life  pension  from  the  trustees.  Among  the  many 
portraits  of  distinguished  men  painted  by  Mr.  Knight  may  be  men- 
tioned those  of  the  Duke  of  Cambridge  (in  Christ’s  Hospital),  F.  C. 
Burnand,  Henry  L.  Holland,  the  Governor  of  the  Bank  of  England, 
Edouard  Frere,  Arthur  Grote,  and  Sir  Titus  Salt. 

Knight,  Daniel  Ridgway.  (Am.)  Born  at  Philadelphia.  In 
1872  he  went  abroad,  studying  for  some  years  in  Paris  at  I’lilcole  des 
Beaux- Arts  and  under  Gleyre.  He  was  in  the  studio  of  Meissonier 
in  1876.  To  the  Paris  Salon,  in  1873,  he  sent  “ The  Fugitives  ” ; in 
1875,  “ Washerwomen  ” ; in  1876,  “ Repast  during  the  Harvest.” 
He  has  exhibited  frequently  at  the  National  Academy,  New  York,  con- 
tributing, in  1870,  “The  Veteran”  (belonging  to  Asa  Whitney) ; in 
1871,  “ Othello  in  the  House  of  Brabantio  ” ; in  1873,  “ The  Anti- 
quary,” “ The  Old  Beau,”  and  “ Dividing  the  Profits  ” ; in  1874, 
“Strolling  in  the  Garden”;  in  1876,  “ Washerwomen  ” ; in  1877, 
“Market-Place  at  Poissy”  and  “Harvest  Scene”  (belonging  to  A.  J. 
Drexel)  ; in  1878,  “ Pot  au  Feu.” 

"In  ‘The  French  Washerwomen,’  by  D.  B.  Knight,  the  figures  are  drawn  with  re- 
markable spirit,  and  in  their  delineation  much  grace  of  form  is  shown.  It  is  without 
that  artificial  feeling  which  belongs  to  work  where  the  conventional  model  is  called  into 
requisition.”  — Art  Journal,  May,  1876. 

Knille,  Otto.  (Ger.)  Born  at  Osnabriick,  1832.  Medal  at  Berlin. 
An  instructor  there,  with  title  of  Professor.  Pupil  at  Diisseldorf 
under  K.  Solin,  Th.  Hildebrandt,  and  W.  von  Schadow.  Also  studied 
under  Couture  at  Paris.  He  spent  some  time  in  Munich  and  Italy, 
and  settled  in  Berlin  in  1865.  Some  of  his  decorative  paintings  (the 
subjects  taken  from  the  Thuringian  Myths)  are  in  tlie  Castle  of 
Marienburg  near  Nordstemmen.  Others  are  over  the  stairway  of  the 
University  Library  at  Berlin.  In  the  National  Gallery  at  Berlin  is 
his  “ Tannhauser  and  Venus.”  At  Berlin,  in  1876,  he  exhibited 
“ Athens,  — Plato  with  his  Pupils,”  a portion  of  a frieze  for  the 
Library  of  the  University  of  Berlin.  This  was  also  seen  at  the  Paris 
Exposition  of  1878. 

Knowlton,  Helen  M.  (Am.)  Born  at  Worcester,  Mass.  She 

VOL.  II.  2 


26  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


has  spent  her  professional  life  in  Boston,  where  she  has  classes  in 
painting.  She  was  a pupil  of  William  M.  Hunt,  and  that  artist’s 
well-known  “ Talks  about  Art  ” are  the  result  of  notes  taken  by 
Miss  Knowlton  during  his  lessons.  She  sketches  in  charcoal,  and 
paints  landscapes  and  portraits  in  oil,  exhibiting  at  the  Boston  Art 
Club,  National  Academy,  and  elsewhere. 

Knyff,  Alfred  de.  (Belgian.)  Bom  at  Brussels.  Chevalier  of 
the  Legion  of  Honor.  Landscape-painter.  His  pictures  represent  all 
kinds  of  scenery,  and  he  passes  easily  and  gracefully  from  the  beach 
to  the  forest,  from  the  banks  of  the  Meuse  to  the  mountains  of  Scot- 
land. At  Paris  in  April,  1876,  several  of  his  pictures  were  sold. 
“ Setting  Sun  in  the  Campine  ” brought  4,000  francs  ; “ Moonlight,” 
2,600  francs  ; etc.  Among  his  subjects  are,  “ The  Scottish  Heather,” 
“ The  Evening,”  “ Forest  of  Fontainebleau,”  “ Villiers-sur-Mer.”  At 
the  Paris  Salon  of  1877  he  exhibited  “The  Forest  of  Stolen  in  the 
Campine,  Belgium”  and  “The  Prairies  of  Lagrange”  ; in  1876,  “The 
Garden  of  A.  Stevens,”  “ The  Mouth  of  the  Meuse,”  and  “ A Marsh 
in  the  Campine  in  Spring.” 

Koch,  Joseph  Anton.  (Ger.)  Born  at  Obergiebeln  am  Bach 
(1768  - 1839).  The  works  of  this  landscape-painter  are  seen  in  va- 
rious German  galleries.  At  the  LIuseum  at  Leipsic  are  three  of  his 
pictures,  and  in  the  National  Gallery,  Berlin,  is  “ A View  of  the 
Convent  of  Civitella,  in  the  Sabine  Mountains.” 

Koekkoek,  Bernard  Cornelius.  (Dutch.)  Born  at  Middlebourg 
(1803-1862).  Chevalier  of  the  Order  of  the  Lion  (Netherlands), 
and  of  the  Order  of  Leopold  (Belgium).  Idedals  at  Paris,  Amster- 
dam, and  the  Hague.  Pupil  of  Schelfhout  and  Tan  Os.  The  land- 
scapes of  this  painter  are  much  esteemed.  He  established  a Drawing 
Academy  at  Cleves.  In  1850  he  published  at  Amsterdam  a book  of 
his  “ Souvenirs  and  Communications  ” (“  Erinnerungen  und  Mitthei- 
lungen  eiiies  Landschaftmalers  ”).  At  the  Johnston  sale.  New  York, 
1876,  his  “ Scenery  on  the  Upper  Rhine  ” (32  by  42)  sold  for  $ 2,800. 
It  was  from  the  Wolfe  sale  in  1863.  A “ Winter  Scene  in  Holland,” 
also  from  the  Wolfe  sale  (20  by  26),  sold  for  $ 1,550.  At  a sale  in 
London  in  1876,  “A  Forest  Scene”  sold  for  .£283.  At  the  Strous- 
berg  sale,  Paris,  1874,  “Interior  of  a Mood”  sold  for  £1,084.  At 
the  Latham  sale.  New  York,  1878,  “Landscape  with  Cattle”  (26  by 
33)  sold  for  $ 1,600.  In  the  National  Gallery,  Berlin,  are  two  of  his 
landscapes,  and  two  others  are  in  the  Leipsic  Museum.  Koekkoek 
was  also  a member  of  the  Academies  of  Rotterdam  and  St.  Petersburg, 
and  of  the  Society  of  Arts,  London.  His  “Castle  on  the  Rhine” 
and  “ Landscape  in  Winter”  belong  to  Mr.  T.  R.  Butler  of  New  T ork. 

Koerner,  Ernst.  (Ger.)  Of  Berlin.  Pupil  of  Eschke  and  btef- 
feck.  Medal  at  Philadelphia,  where  he  exhibited  “ Mahmoudieh  Canal 
near  Alexandria.”  This  was  “ commended  for  distinguished  excel- 
lence.” At  the  Paris  Salon  of  1878  he  exhibited  “The  Mahmoudieh 
Canal,  Egypt  ” and  “Under  the  Palm-Trees.” 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  27 


Kohler,  Christian.  {Ger.)  Bom  in  Werben  (1809  - 1861).  Pro- 
fessor at  Diisseldorf.  Studied  at  Berlin  Academy  and  at  Diisseldorf. 
In  1860  he  went  to  Montpellier  for  his  health,  but  received  no  benefit. 
In  the  Berlin  National  Gallery  is  his  “ Semiramis.” 

Koller,  Guillaume.  (Ams.)  Born  at  Vienna,  1829.  Followed 
the  course  at  the  Academy  of  Fine  Arts  in  Vienna,  and  then  studied  at 
Diisseldorf  from  1851  to  ’55.  “ The  Emigrants,”  “ The  Asylum,”  and 

“ Scene  from  the  Peasants’  War,  1524  ” were  painted  while  he  was  at 
Diisseldorf,  and  found  their  way  into  the  best  collections  in  Vienna. 
Next  Koller  resided  three  years  in  Antwerp.  He  first  exhibited  in 
that  city  “ The  Clandestine  Marriage  of  the  Archduke  Ferdinand 
with  Philippine  Welser  at  the  Chateau  de  Meran,  in  the  T3Tot  ” ; it 
was  purchased  bj"  Mr.  Nieuwenhnys.  Koller  draws  his  inspirations 
from  the  literature  and  history  of  Germany,  and  as  he  spends  much 
time  on  his  works  they  are  not  numerous  ; among  them  are,  “ The 
Christening  of  Martin  Luther,”  purchased  by  M.  Drasche  of  Vienna  ; 
“ The  First  Interview  of  Marguerite  and  Faust,”  purchased  by  the 
Chevalier  de  Knyff  of  Antwerp  ; “ Albert  Diirer  receiving  a Message 
from  the  Archduchess  of  Parma,”  purchased  by  the  late  Prince  Albert 
of  England  ; “The  Coal- Market”  ; “Philippine  Welser  demanding 
Pardon  for  her  Husband  from  his  Father,  the  Emperor  Ferdinand  ” ; 
“ The  Departure  for  the  War  ” ; “ Almsgiving  ” ; etc. 

In  manner  of  treatment  he  has  grafted  upon  the  comparatively  dry  style  of  the  Ger- 
man school,  acquired  in  Diisseldorf,  the  richer  and  more  realistic  style  of  the  modern 
Belgian.  His  coloring  is  always  good,  but  he  does  not  strive  to  produce  an  impression 
by  this  quality  so  much  as  by  a faithful  rendering  of  his  subject.  In  this  his  sympa- 
thies are  more  with  Leys  and  his  disciples  than  they  are  with  Gallait,  Wappers,  and 
De  Keyser.  In  his  choice  of  subjects  he  aims  high,  but  certainly  not  beyond  his  powers. 
And  as  he  is  still  in  the  early  prime  of  life,  a long  and  prosperous  career  may  be  his 
future,  which  shall  yield  more  abundant  and  riper  fruit  than  any  he  has  yet  produced.” 
— James  Dafforne,  London  Art  Jouriud,  January,  1867. 

Kollock,  Mary.  (Am.)  Born  in  Norfolk,  Va.,  1840.  Studied 
art  in  Philadelphia  for  three  years  under  Robert  Wylie,  in  the  Penn- 
sylvania Academy  of  Fine  Arts.  Later  she  took  lessons  in  landscape 
from  J.  B.  Bristol  and  A.  H.  Wyant.  The  greater  part  of  her  profes- 
sional life  has  been  spent  in  the  city  of  New  York,  contributing  to  the 
National  Academy  of  Design  scenes  from  the  Adirondack  regions 
and  Lake  George.  In  1877  she  sent  “ Morning  in  the  Mountains  ” and 
“On  the  Road  to  Mt.  Marcy  ” ; in  1878,  “A  November  Day”  and 
“ An  Evening  Walk.”  Her  “ Midsummer  in  the  Mountains  ” was 
at  Philadelphia  in  1876. 

Korzoochin,  Alexis.  (Russian.)  Of  St.  Petersburg.  At  Philadel- 
phia he  exhibited  pictures  of  “A  Sunday  Tea-Party”  and  “A  Scene 
in  the  Wood,”  and  received  a medal. 

Kotzebue,  Alexander  von.  (Russian.)  Medal  at  Paris  in  1867. 
Medal  at  St.  Petersburg.  This  artist  was  a soldier  iii  his  youth, 
and  understands  what  he  paints.  His  “ Passage  of  the  Devil’s  Bridge 


28  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


by  the  Eussian  Army  in  1799”  is  a well-kno^vn  picture.  He  has 
Eved  for  some  time  in  Munich,  and  has  traveled  hi  various  countries 
of  Europe.  His  pictures  in  the  galleries  of  Russia  are  much  liked. 
At  St.  Petersburg,  in  1870,  he  exhibited  “ The  Battle  at  Lessnoje  ” 
and  “ The  Surrender  of  Riga  in  1710.” 

Krause,  Wilhelm  August  Leopold  Christian.  (Ger.)  Bom  at 
Dessau  (1803-  1864).  Member  of  the  Academy,  and  Royal  Professor 
at  Berlin.  Founder  of  the  School  of  Marine  Painting  at  Berlin. 
Studied  at  Berlin  and  Dresden.  He  was  very  poor,  and  did  many 
things  to  earn  money  ; among  others,  he  sang  in  a theater  in  Berlin. 
In  1828,  never  having  seen  the  sea,  he  painted  his  first  marine  picture. 
He  showed  great  talent  in  this  sfiecialty.  In  1830  and  ’31  he  traveled 
in  Northern  Europe.  At  the  National  Gallery,  BerUn,  are,  “ A Storm 
at  Sea,”  “ View  on  the  Coast  of  Pomerania,”  and  “ Scottish  Coast 
Scene  in  a Storm.” 

Kroner,  Christian  Johann.  {Ger.)  Bom  at  Einteln,  in  Hesse, 
1838.  Medal  at  Berlin  in  1876.  Pupil  of  nature,  and  an  artist  who, 
by  earnest  study,  brought  himself  to  a reputable  standing  in  land- 
scape-painting. Many  of  his  pictures  are  of  wild,  mountainous  scenes. 
At  Diisseldorf  he  came  under  the  influence  of  L.  H.  Becker,  who  en- 
couraged him  to  i^ersevere  in  his  art.  His  pictures  are  well  consid- 
ered. He  has  traveled  considerably,  and  visited  various  parts  of  Ger- 
many, the  North  Sea,  Paris,  etc.  He  has  made  wood-engra\dngs  and 
etchings.  Some  of  these  represent  animals  as  well  as  landscapes.  At 
the  National  Gallery,  Berlin,  is  an  “Autumn  Landscape,  with  Deer.” 

Kruger,  Franz.  {Ger.)  Born  at  Radegast  (1797  - 1857).  Court 
painter.  Professor  and  member  of  the  Berlin  Academy.  Without 
masters,  he  became  a good  portrait-painter,  and  established  himself 
at  Berlin.  In  1844  he  was  invited  to  visit  Russia  by  the  Emperor, 
and  remained  there  six  years.  He  was  called  “ Pferde-Kruger  ” from 
his  good  painting  of  horses.  He  painted  many  equestrian  portraits  ; 
and  his  parade  scenes  and  other  military  pictures  are  excellent.  At 
the  National  Gallery  of  Berlin  are  his  “Departure  for  the  Hunt” 
and  “ Return  from  the  Himt,”  “Emperor  Nicholas  of  Russia,”  and  a 
“Dead  Rabbit.” 

Kruger,  Karl  Max.  {Ger.)  Born  at  Liibbenau,  1834.  Studied 
at  Munich  Academy,  and  under  Ott  and  R.  Zimmermann  ; also  at 
the  Art  School  of  Weimar.  Traveled  in  Germany  and  in  Northern 
Italy.  Since  1870  he  has  lived  in  Dresden.  At  the  National  Gallery 
at  Berlin  is  a view  of  “A  Forest  on  the  Spree.”  At  Berlin,  in  1876, 
he  e.xhibited  “ A Hunting-Lodge  in  the  Neighborhood  of  Liibbenan.” 

Kuhling,  Wilhelm.  {Ger.)  Born  at  Berlin,  1823.  Studied  at 
the  Berlin  Academj'',  and  traveled  in  Switzerland,  France,  and  Italy. 
At  first  he  was  very  successful  in  portraits.  Later,  he  has  painted 
landscapes,  many  of  which  are  taken  from  Tapper  Bavarian  scenery. 
At  the  National  Gallery,  Berlin,  is  his  “ Group  of  Cattle.”  At  Berlin, 
in  1876,  he  exhibited  four  cattle-pictures. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  29 


Kuntz,  Gustav  Adolf.  {Ger.)  Born  at  Wildenfels,  1843,  Medal 
at  Philadelphia.  Pupil  of  Schilling  at  Dresden.  In  1869  he  went 
to  Italy  for  two  years,  and  there  executed  a life-size  marble  statue  of 
the  prophet  Daniel  for  the  mausoleum  of  the  late  Prince  Consort  at 
Frogmore.  He  then  visited  Weimar,  England,  France,  Holland,  and 
Belgium,  and  studied  painting.  In  1877  he  settled  in  Rome.  At  the 
National  Berlin  Gallery  is  his  “ Italian  Pilgrim."  He  sent  to  Phila- 
delphia “ The  Nun’s  Revery.” 

Kuntze,  Edward  J.  A.,  N.  A.  (Ger.-Am.)  Born  in  Pomerania 
(1826-1870).  Settled  in  America  in  1844,  devoting  himself  to  the 
practice  of  his  art  with  some  success.  He  was  elected  an  Associate  of 
the  National  Academy  in  1869,  a year  before  his  death.  Among  his 
works  may  be  mentioned,  statuettes  of  Shakspere  and  Lincoln  ; a 
statue  of  “ Psyche  ’’  ; bust  of  “ Mirth,"  in  marble  ; “ Merlin  and 
Vivien,"  in  bas-relief  ; and  many  medallion  portraits  and  busts. 

Kurzbauer,  E.  {Austrian.)  Born  at  Vienna,  1846.  Pupil  of 
Piloty.  We  have  not  been  able  to  obtain  a sketch  of  this  artist’s  life, 
but  he  is  well  considered,  and  sent  to  the  Paris  Exposition  of  1878 
“The  Fugitives’’  (belonging  to  the  Emperor  of  Austria)  and  “La 
maison  mortuaire”  (belonging  to  M.  Eggers  of  Vienna). 

Kuwasseg,  Carl-Joseph.  {Austrian.)  Born  at  Trieste.  Natural- 
ized Frenchman.  Died,  1876.  Medals  at  Paris  in  1845,  '61,  and 
’63.  He  commenced  life  as  a carpenter,  but,  abandoning  this  occu- 
pation, he  went  to  Vienna,  and  lived  by  making  water-color  drawings. 
He  traveled  in  South  America,  and  went  to  Paris  in  1830,  and  there 
soon  earned  a good  reputation  as  a landscape-painter.  Of  late  years 
he  has  principally  exhibited  Swiss  and  French  views. 

Kuyck,  Louis  Van.  (Belgian.)  Born  at  Antwerp  (1821  - 1874). 
Gold  medal  at  Brussels.  Pupil  at  the  Antwerp  Academy  under  Van 
Bree,  and  of  Baron  Wappers.  The  familiar  scenes  which  he  first 
painted  are  almost  unknown.  His  first  “ Interior  of  a Stable  ’’  is  in 
the  Museum  at  Munich  ; it  is  by  subjects  of  this  class  that  he  has 
earned  his  high  European  reputation.  The  names  of  his  different  pic- 
tures are  so  much  alike  that  a list  is  quite  useless.  They  are  rural 
Flemish  scenes,  most  frequently  stable  interiors,  with  horses,  dogs, 
poultry,  pigeons,  etc. 

Lacroix,  Gaspard  Jean.  (Fr.)  Born  at  Turin  (1820-1878). 
His  parents  were  French,  and  his  professional  life  was  spent  in  France. 
He  received  a medal  of  the  third  class  in  1842,  and  medals  of  the  second 
class  in  1843  and  ’48.  He  was  a pupil  of  Corot,  and  proved  to  be  one 
of  his  most  worthy  followers.  To  the  Salon  in  1878  he  sent  a land- 
scape ; in  1877,  “Aux  Glaises, pres  de  Palaiseau”;  in  1876,  “At  Pa- 
laiseau  ’’  ; in  1873,  two  views  in  the  park  of  the  Gigoux,  both  belonging 
to  M.  Bonnel.  One  of  his  landscapes  was  at  the  Exposition  of  1878. 

La  Farge,  John,  N.  A.  (Am.)  Figure,  flower,  and  landscape 
painter,  drawing  also  on  wood.  He  has  occupied  a studio  in  New 


30  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


York  for  some  years.  He  was  elected  a member  of  the  National 
Academy  in  1869.  Is  a member  of  the  American  Water-Color  So- 
ciety and  of  the  Society  of  American  Artists.  Among  his  works,  in 
oil,  are,  “ View  over  Newport,”  “ Sleeping  Beauty,”  “ A Gray  Day,” 
“ A Snowy  Day,”  “ A Seaside  Study  ” (belonging  to  J.  F.  Kensett), 
“ A Hillside  Study,”  “ From  the  Story  of  Cupid  and  Psyche,”  “ New 
England  Pasture-Land,”  “ A Bather,”  and  others,  exhibited  at  the 
National  Academy  in  different  seasons.  To  the  first  Exhibition  of 
the  Society  of  American  Artists,  in  1878,  he  sent  “ Autumn  Sunset,” 
“ Wild  Boses,”  and  “ Hollyhocks.”  “ Bishop  Berkeley’s  Rock,  New- 
port,” “ Wreath  of  Flowers,”  etc.,  were  at  the  Philadelphia  Exhi- 
bition of  1876.  To  Paris,  in  1878,  he  sent  “ Paradise  Valley,  New- 
port.” He  executed  the  frescos  in  Trinity  Church,  Bo.ston.  Miss 
Alice  Hooper  owns  La  Farge’s  “New  England  Pasture-Land,”  one 
of  his  finest  works.  At  Boston,  in  November,  1878,  he  exhibited  and 
successfully  sold  a large  number  of  his  pictures. 

La  Farge  goes  to  art  with  earnest  devotion,  and  an  ambition  for  its  higliest  walks, 
bringing  to  the  American  school  depth  of  feeling,  subtlety  of  perception,  and  a magnifi- 
cent tone  of  coloring,  united  to  a fervent  imagination,  which  bestows  upon  the  humblest 
object  a portion  of  his  inmost  life His  landscapes  are  gems  of  imaginative,  sugges- 

tive, and  delicate,  vital  treatment,  not  pantheistic  in  sentiment,  although  the  soul  of  na- 
ture breathes  in  them.”  — Jarves,  Art  Idea. 

“Mr.  La  Farge  sent  five  pictures,  two  of  figures  and  thi'ee  of  flowers.  The  latter  are 
works  of  peculiar  excellence  for  their  purity  and  chann  of  color,  — flowers  forming  but 
tlie  theme  for  a most  delicate  and  refined  harmony  that  addresses  the  eye  mth  occult 
power.  Mr.  La  Fargo  is  learned  in  his  art,  working  for  profound  and  subtle  results,  and  no 
one  is  more  sensitive  to  the  value  of  mystery  in  tone  and  color,  and  of  the  emission  of 
luminous  light  through  these  qualities.  His  picture  of  ‘ St.  Paul  at  Athens  * is  stamped 
with  great  sincerity  of  aim,  and  bears  unmistakable  evidence  of  power  and  thought.  His 
works,  however,  for  the  most  pait  give  an  impression  of  incompleteness,  or  suggest  a 
deficiency  of  form,  and  the  drawing,  as  of  the  hands  of  this  picture  of  St.  Paul,  is  often 
defective.  But  these  shortcomings  are  more  than  co!ni>ensated  by  the  superior  aim 
which  characterizes  his  work,  and  renders  it  highly  intellectual,  spiritual,  and  poetical  in 
feeling.”  — Prof.  Weir’s  Official  Report  of  the  American  Centennial  Exhibition  o/1876. 

“All  Mr.  La  Fai'ge’s  pictures  are  apt  to  have  that  element  commonly  called  'sugges- 
tivencss,’ — that  sense  of  progressive  fluency,  rather  than  of  either  loose  trenmlousness 
or  fixed  stability,  which  once  led  a clever  critic  to  remark  of  them  that  it  was  always  the 
next  picture  Mr.  La  Farge  would  paint  that  was  the  masterpiece.  But  his  sketches  — 
or  the  pictures  he  catalogues  " sketches  ’ — have  it  eminently,  and  in  them  it  is  espe- 
cially pleasing.  Somehow  one  learns  in  time  that  even  in  his  sketches  there  is  no  lack 
of  completeness  of  motive,  and  that  if  it  does  not  seem  completely  expressed,  that  may 
not  be  so  much  the  fault  of  the  painter  as  of  the  obser\'er,  if  the  latter  has  been  accus- 
tomed to  the  stock  notion  that  completeness  of  expression  means  a hunting  of  the  mo- 
tive to  Its  fastnesses.”  — New  York  ]Vorld,  November  3,  1S7S. 

Laguillermie,  August  Fr^d^ric.  (Fr.)  Born  at  Paris.  Prix  de 
Rome,  1866.  Pupil  of  Flameng  and  Bonguereau.  He  has  also  studied 
in  Madrid,  Rome,  and  Athens.  His  drawings  from  the  frescos  of 
Michael  Angelo  in  the  Sistine  Chapel  and  from  the  Temple  of 
Erechtheus  at  Athens  are  important.  He  has  made  some  powerful 
plates  after  the  works  of  Velasq^uez.  More  recently  Laguillermie  has 


ARTISTS  OF  THE  NINETEENTH  CENTURY-  31 


sent  some  pictures  to  the  Salons.  In  1876  he  exhibited  a “ Portrait 
of  Mme.  B.”  and  two  etchings,  “ Kuth  and  Boaz  ” and  “ The  Death  of 
Jacob,”  both  after  Bida  ; in  1875,  two  portraits  (in  oil),  three  water- 
color  sketches  for  portraits,  and  an  etching  of  a portrait  after  Ter- 
burg ; in  1874,  picture  of  a “Young  Breton  Girl  winnowing  Buck- 
wheat on  the  Seashore”  and  an  etching,  “ Fantasy,”  after  Fromen- 
tin  ; in  1873,  “ A Spinner”  and  a portrait  (in  oil),  and  an  etching  of 
“The  Surrender  of  the  City  of  Breda,”  by  Velasquez  ; etc.  At  the 
London  Academy,  1878,  he  exhibited  an  etching  after  “The  Prisoner,” 
by  Gerome. 

“ The  serious  and  prolonged  studies  of  this  artist  have  resulted  in  a kind  of  etching 
perfectly  .adapted  to  the  interpretation  of  such  a master  as  Velasquez,  who  dwelt  in  an  ar- 
tistic region  elevated  very  far  above  the  small  prettinesses  of  merely  technical  mechanical 
engravers.  Few  things  in  the  history  of  the  fine  arts  are  more  hopeful  and  encouraging 
than  the  emancipation  of  engraving,  and  its  nearer  approach  to  thoroughly  artistic 
painting,  which  have  been  effected  by  Flameng  and  his  pupils  Rajon  and  Laguillermie. ’’ 
— P.  G.  Hamerton,  The  Portfolio,  April,  1873. 

Lagye,  Victor.  {Belgian.)  Of  Antwerp.  Pupil  of  Leys.  His 
subjects  are  taken  principally  from  the  fourteenth  and  fifteenth  cen- 
turies. “ The  Antiquaries  ” is  remarkable  for  its  finish  of  detail. 
Another  of  his  pictures  represents  a “ Mother  putting  her  Child  in 
the  Cradle,”  and  gives  a peep  at  the  family  life  of  the  olden  times  in 
Belgium.  It  was  done  for  the  city  of  Ghent.  He  received  a medal 
at  Philadelphia,  where  he  exhibited  “ The  Sculptor,  — Close  of  the 
Fifteenth  Century.”  To  the  Paris  Exposition  of  1878  he  contributed, 
“The  Gypsies,”  “The  Sculptor,”  “The  Magician,”  and  “ The  Cross- 
bowman.” 

Lalanne,  Maxime.  (Fr.)  Born  at  Bordeaux,  1827.  Member  of 
the  Academies  of  Bordeaux  and  Brussels.  Medals  at  the  Expositions 
of  Vienna  and  Philadelphia.  Chevalier  of  the  Ijegion  of  Honor,  of 
the  Order  of  Christ  of  Portugal,  and  of  that  of  St.  Gregory  the  Great. 
Pupil  of  M.  J.  Gigoux.  Painter  and  engraver,  and  of  later  years 
esyjecially  devoted  to  etching.  He  has  published  a “Traite  de  la 
Gravure  a I’Eauforte,”  and  has  illustrated  it  himself  in  a charming 
manner.  His  oil-pictures  are  landscapes.  Among  his  etchings  are, 
“ Rue  des  Marmousets,  Old  Paris,”  “ View  of  Bordeaux,”  “ Demoli- 
tion for  lengthening  the  Boulevard  St.  Germain,”  “ Demolition  for 
lengthening  the  Rue  des  Ecoles,”  “ View  from  the  Bridge  of  Saint- 
Michel,’'  “ View  from  the  Bridge  de  la  Concorde,”  “ Chez  Victor 
Hugo,” — twelve  small  etchings  of  the  house  of  Victor  Hugo,  re- 
markable for  minute  delicacy.  At  the  Salon  of  1877  he  exhibited 
“ View  in  the  Port  of  Quimper,”  “ Bank  of  a River,”  and  “ In  the 
Fields  of  Cenon,  Gironde”;  in  1876,  “The  Chickens,”  after  Ribot, 
“ The  Pool  of  Ville  d’Avray,”  after  Corot,  and  “ Marcoussis,”  after 
Corot. 

'*  No  OTift  ever  etched  so  gracefully  as  Maxime  Lalanne.  The  merit  of  gracefulness 
is  what  chiefly  distinguishes  him ; there  have  been  etchers  of  greater  power,  of  more 


32  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


striking  originality,  trnt  there  has  never  been  an  etcher  equal  to  him  in  a certain  deli- 
cate elegance,  from  the  earliest  times  till  now.  He  is  also  essentially  a (rue  etcher  ; he 
knows  the  use  of  the  free  line  and  boldly  emidoys  it  on  due  occasion.  So  far  his  work 
is  very  right,  but  it  has  the  fault  of  too  much  system.”  — P.  G.  Hameeton,  Etching  and 
Etchers. 

L’Allemande,  Fritz.  (Ger.)  Born  at  Hanau  (1812- 1866).  An 
excellent  painter  of  military  subjects.  He  never  painted  a picture 
until  he  had  visited  the  scene  of  the  battle.  The  Emperor  Francis 
Joseph  commissioned  him  to  decorate  the  reception-room  of  the 
chateau  of  Schbnbrunn.  After  that  work,  which  proved  his  talent  to 
be  good,  he  was  constantly  employed  upon  important  commissions. 
His  “ Episode  in  the  Combat  of  Komorn  ” (seen  at  London  in  1862) 
attracted  attention  and  admiration. 

Lambdin,  George  Cochran,  N.  A.  (Am.)  Born  in  Pittsburg, 
Pa.,  1830,  but  has  lived  since  childhood  in  Philadelphia,  with  the 
exception  of  two  years,  1868  to  ’70,  spent  in  New  York  He  studied 
under  his  father,  a portrait-painter  of  some  repute.  In  1855  he  went 
to  Europe,  spending  two  years  on  the  Continent,  chiefly  in  Munich 
and  Paris.  In  1858  he  sent  to  the  National  Academj',  New  York,  a 
picture  called  “ Our  Sweetest  Songs  are  those  which  tell  of  Saddest 
Thoughts,”  his  first  exhibited  work.  The  original  study  of  this  i.s 
now  in  the  Suydam  Collection  of  the  National  Academy.  Two  years 
later  he  exhibited  “ The  Dead  Wife,”  which  was  selected  by  the 
Committee  to  go  to  the  Paris  E.xposition  of  1867.  This  was  followed 
by  “Twilight  Reverie,”  “Ask  Me  No  More,”  and  kindred  works,  of  a 
sentimental  cast  illustrative  of  young  maidenhood.  For  some  years 
afterwards  he  devoted  himself  exclusively  to  portraits  of  children,  of 
which  “ The  Little  Knitter  ” (belonging  to  Mr.  Adams  of  Boston)  is 
among  the  best.  During  his  New  York  residence,  in  1868,  he  was 
elected  a member  of  the  National  Academy.  After  a short  visit  to 
Europe,  chiefly  for  the  benefit  of  his  health,  in  1870,  he  settled  at 
Germantown,  near  Philadelphia,  cultivating  in  his  garden  fine  roses 
and  flowers,  to  the  painting  of  which  he  has  since  turned  his  attention 
with  marked  success. 

Lambert,  Louis  Eugene.  (Fr.)  Born  at  Paris.  Chevalier  of  the 
Legion  of  Honor.  Pupil  of  Delacroix.  At  the  Salon  of  1877  he  ex- 
hibited “Portrait  of  Lido”  and  “During  the  Mass”  ; in  1876,  “En 
famille  ” and  “ Pepito,  Toe,  d’Artagnan,”  belonging  to  the  Baroness 
Nathaniel  de  Rothschild;  in  1875,  “Jack,  Sam,  Shot,”  “The  En- 
emy,” and  “ L’Envoi  ” ; in  1874,  “ Installation  Provisoire  ” and  “ The 
Hour  of  the  Repast.”  This  artist  excels  in  painting  small  animals, 
such  as  kittens,  cats,  etc.  At  the  Salon  of  1878  he  exhibited  “The 
Cats  of  the  Cardinal”  and  “ Fallen  Greatness.” 

“The  cats  of  M.  Louis  Eugene  Lambert  are  as  usual  the  most  attractive  and  charac- 
teristic reproductions  of  animal  life  to  be  found  at  the  Salon.  One  of  his  contributions 
this  year  is  probably  destined  to  as  widespread  a popularity  as  was  obtained  by  his 
‘ Envoi  en  Provence,’  that  basketful  of  recalcitrant  kittens  that  won  such  a success  a 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  33 


few  yeara  ago.  This  year  M.  Lambert  takes  an  historic  flight,  and,  remembering  the 
fact  that  Cardinal  Richelieu  was  passionately  fond  of  eats,  he  paints  for  our  delectation 

the  pets  of  the  great  statesman His  other  contribution  is  felicitously  named 

‘ Fallen  Greatness.  ’ A tiger  skin  is  spread  upon  the  floor,  and  a sober  mother  eat  and 
her  family  have  taken  possession  of  this  relic  of  the  king  of  the  forest.  The  languid  dig- 
nity of  the  mother  cat,  with  her  glossy  fur,  pink  nose,  and  reposeful  attitude,  is  well 
contrasted  with  the  irrepressible  vivacity  of  her  offspring."  — Art  Journal,  August,  1878. 

Lambinet,  Emile.  (Fr.)  Born  at  Versailles  (1810-1878).  Chev- 
alier of  the  Legion  of  Honor.  Pupil  of  Drolling.  Made  his  debut  at 
the  Salon  of  1833.  “A  Landscape”  (1855)  is  at  the  Luxembourg. 
His  views  are  those  of  his  own  country,  such  as,  “The  Seine  at 
Bougeval,”  “ Norman  Meadows,”  “Coasts  of  Normandy,”  “The  Val- 
ley of  Arques,”  etc.  At  the  Salon  of  1877  he  exhibited  “ The  Village 
of  Qiiineville  ” ; in  1876,  “ Summer  ” and  “ Le  Bas-Prunay.”  Mrs. 
H.  E.  Maynard  of  Boston  has  three  landscapes  by  this  artist  in  her 
collection.  Two  of  his  works  were  exhibited  at  the  Salon  of  1878. 

“ Lambinet  is  a man  of  less  power,  but  in  his  limited  choice  of  lowland  scenery  nat- 
ural and  simple,  having  a refined  taste  and  defined  execution,  suggesting  details  by  em- 
phasis of  brush  rather  than  by  accurate  finish.  He  fills  his  pictures  with  clear,  bright 
light,  rivaling  Nature’s  tones  as  fully  as  pigments  may.  But  it  is  a hazardous  process, 
and  no  way  so  satisfactory  as  the  lower  tone  of  Corot,  whose  treatment  of  light  is  un- 
equaled. Those  who  follow  Lambinet  in  this  respect  would  do  well  to  recall  Leonardo’s 
maxim  in  regard  to  pure  white,  ‘ Use  it  as  if  it  were  a gem.’  Lambinet’s  landsciipe, 
although  ever  repeating  himself,  is  fresh  and  fragrant,  like  a bouquet  of  flowers.  ’’  — 
Jarves,  Art  Thoughts. 

Lami,  Louis  Eugfene.  {Fr.)  Born  at  Paris,  1800.  Chevalier  of 
the  Legion  of  Honor,  1837,  officer  since  1862.  Pupil  of  Gros,  Horace 
Vernet,  and  I’l^cole  des  Beaux- Arts.  He  has  engraved  on  stone,  made 
lithographs,  and  painted  in  water-colors  and  in  oils.  “ A Supper  in 
the  Salle  de  Spectacle  at  Versailles  ” and  “An  Interior  of  a Church  ” 
(water-colors)  are  at  the  Luxembourg.  He  has  given  much  time  to 
water-colors,  and  seems  most  fond  of  that  mode  of  representation. 
But  he  has  also  painted  five  or  more  battle-pieces,  in  oils,  for  the  Gal- 
lery at  Versailles,  and  has  a facility  of  execution  in  whatever  he 
undertakes. 

Lance,  George.  (Brit.)  '(1802-1864.)  Pupil  of  Haydon  and 
of  the  School  of  the  Royal  Academy.  Lance  was  a very  successful 
painter  of  still-life,  his  works  being  in  the  possession  of  many  noble 
families  of  England.  He  executed  a few  historical  and  figure  pieces, 
but  was  famous  for  his  fruits  and  flowers.  Among  the  former  may  be 
mentioned,  “ The  Coquette,”  “ The  Lady  in  Waiting,”  and  “ Melanc- 
thon’s  First  Misgiving  of  the  Church  of  Rome.”  In  1860  he  exhib- 
ited at  the  Royal  Academy,  “Full  Ripe”;  in  1861,  “A  Sunny 
Bank  ” ; and  in  1862,  “ A Gleam  of  Sunshine.”  Three  of  his  pictures 
(in  the  Vernon  Collection)  are  in  the  National  Gallery,  London,— 
“ A Basket  of  Fruit,”  painted  in  1834  ; “ Red  Cap,”  exhibited  at  the 
British  Institution  in  1847  ; and  “ Fruit  ” (a  pineapple,  grapes, 
melon,  etc.),  painted  in  1848. 

2* 


34  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


" Lanoe  was  occasionally  Warned  for  exaggeration  of  color,  but  his  delineation  was 
delicate  and  his  grouping  agreeable.”  — Mrs.  Tytler’s  Modern  Painters. 

Landelle,  Charles.  (Fr.)  Bora  at  Laval,  1821.  Chevalier  of 
the  Legion  of  Honor.  Medal  at  Philadelphia.  Pupil  of  Delaroche. 
Historical  and  religious  painter  ; has  also  executed  many  portraits. 
“The  Presentation  of  the  Virgin”  (1859)  is  at  the  Luxembourg. 
His  mural  paintings  are  “Law,”  “Justice,”  and  “Right,”  in  the 
Palace  of  the  Council  of  State  (destroyed  in  1871),  six  decorative 
panels  for  a salon  in  the  Palace  Elysee,  some  works  at  the  Hotel 
de  Ville  (also  destroyed),  and  the  chapel  of  Saint-Joseph  at  Saint- 
Sulpice.  Among  his  portraits  are  those  of  Alfred  de  Musset,  the 
Countess  Fitz-James,  Mine.  Achille  Fould,  Stackelberg,  Admiral 
Baudin,  Princess  of  Broglie,  and  many  others.  At  the  Salon  of 
1877  he  exhibited  “Salmacis”;  in  1875,  “The  Death  of  St. 
Joseph”  ; in  1874,  “A  Reverie  of  Sixteen  Years”  ; in  1873,  “A 
Young  Serbian  Gypsy”  and  “The  Samaritan  Woman”;  in  1872, 
“ L’Almee  ” ; etc.  At  the  Johnston  sale.  New  York,  1876,  “The 
Egyptian  Girl”  (17  by  11)  sold  for  $ 780  ; “ The  Greek  Girl  ” (18  by 
14),  for  $800.  At  the  Salon  of  1878  he  exhibited  a portrait  of  the 
Marquis  de  Saint-M.  as  an  Arab  Sheik,  and  “ Ismenis,  a Nymph  of 
Diana.” 

*‘Tlus  distinguished  painter  has  a commonplace  facility,  which  he  dispenses  in  a per- 
petual repetition  of  himself.  He  is  consecrated  for  the  rest  of  his  days  to  what  is 
called  character  figures,  young  gypsies,  Egyptian  women,  Moorish  women,  Ethiopian 
women.  As  he  knows  how  to  mix  the  right  dose,  and  in  verj^  decent  proportions,  of  the 
romantic  and  picturesque  with  gravity  and  classic  correctness,  he  never  fails  to  plea.se 
the  public,  although  he  becomes  weaker,  thinner,  and  more  faded  day  by  day.”  — 
Ernest  Duvergier  de  Hauranne,  Rcviie  des  Deux  Mondes,  June,  1871. 

” If,  carried  away  by  the  sympathy  which  the  artist  inspires,  one  said  that  the  deco- 
ration of  the  chapel  of  Saint-Joseph  was  a work  of  the  first  order,  he  might  be  accused 
of  thoughtless  entliusiasm  : but  lie  would  be  unjust  not  to  see  in  it  one  of  those  works 
which  hold  an  equilibrium  between  disparagement  and  eulogj’.  31.  Landelle,  whom  the 
public  of  the  Salons  knows  so  well,  has  wished  to  make  himself  appreciated  on  a 
larger  scene.  Without  being  presumptuous  he  had  the  right  to  make  the  attenij^t,  as 
he  has  now  the  right  to  repeat  it  The  charming  painter  of  Fellahs  and  Moors  quitted, 
one  fine  day,  the  gallery,  already  long,  of  his  Oriental  beauties.  He  has  elevated  his 
art  by  ascending  the  steps  of  the  church.  Only  an  exigency  could  demand  of  him  to 
leave  forever  the  voluptuous  seraglio  that  he  has  created  and  peopled  : but,  now  that 
he  has  penetrated  the  temple,  he  owes  it  to  himself  to  return  there  to  work  and  to 
})urify  his  j)rofane  talent.  His  name,  it  is  true,  would  not  be  more  celebrated,  but  it 
would  be  more  enduring.”  — Roger  Ballu,  Gazette  des  Beaux-Aris^  February,  1S78. 

Landseer,  John,  A.  R.  A.  {Brit.)  Celebrated  engraver.  Father 
of  Edwin,  Charles,  and  Thomas  Landseer.  Bom  in  Lincoln  (1761- 
1852).  Engraved  vignettes  for  ilacklin’s  Bible  published  in  1793,  for 
Bowyer’s  History  of  England,  views  in  the  Isle  of  Wight  after  Turner, 
South  of  Scotland  after  James  Moore,  and  a series  of  engravings  of 
animals  after  Gilpin,  Rubens,  Rembrandt,  Suyder,  etc.  In  1807  he 
was  elected  an  Associate  Engraver  of  the  Royal  Academy,  and  exhib- 
ited there  as  late  as  1851  several  sketches  of  Druidical  temples  on  the 


ARTISTS  OF  THE  NINETEENTH  CENTURY. 


35 


Channel  Isles.  In  1806  he  delivered  a course  of  lectures  on  “Engrav- 
ing ” before  the  Eoyal  Institution,  and  in  1823  a course  on  “ Engraved 
Hieroglyphics.”  He  was  the  author  of  a book  entitled  “ Sabasan 
Kesearches,”  published  in  1823,  and  of  a valuable  “ Catalogue  of  the 
Earliest  Pictures  in  the  National  Gallery,”  published  in  1834. 

Landseer,  Thomas,  A.  E.  A.,  his  son  and  pupil,  is  a well-known 
English  engraver  of  the  present  day.  Elected  Associate  of  the  Eoyal 
Academy  in  1868.  Among  his  plates  are  Eosa  Bonheur’s  “ Denizens 
of  the  Porest,”  and  (after  Edwin  Landseer)  “ Doubtful  Crumbs,” 
“The  Sanctuary,”  “The  Challenge,”  “Browsing,”  “Peace,”  “The 
Baptismal  Font,”  and  the  portrait  of  the  Queen.  He  has  also  con- 
tributed to  the  Eoyal  Academy  many  original  drawings  in  crayon,  and 
(in  oil)  “ A Deluge  of  Eain,”  “ The  Goat  without  a Beard,”  “ Lion- 
Hunting,”  “ Cattle,”  etc. 

“ That  Thomas  Landseer  the  engraver  was  hut  an  Associate  hy  condescension,  sat 
only  at  a side-table  at  state  dinners  of  the  Eoyal  Academy,  not  cheek  hy  jowl  with  artists 
[painters]  like  his  brother  Edwin  and  the  already  forgotten  Charles,  — this  did  not  deprive 
him  of  his  faculty  as  an  artist  or  his  right  to  he  recognized  as  one.  The  two  great  Land- 
seers were  John  Landseer  the  father,  only  a ‘line  engraver,’  and  Tiionias  Landseer  tlie 
son,  a mere  engraver  also.”  — W.  J.  Linton,  in  Scribner’s  Monthly,  June,  1878. 

Landseer,  Charles,  E.  A.  {Brit.)  Son  of  John  Landseer,  and 
elder  brother  of  Edwin,  born  1799.  He  was  a pupil  of  his  father  and 
of  Haydon,  entering  the  Eoyal  Academy  at  the  age  of  sixteen.  His 
picture  was  exhibited  in  1828.  He  was  elected  an  Associate  of  the 
Eoyal  Academy  in  1837,  and  Academician  in  1845.  In  1851  he 
received  the  appointment  of  Keeper,  a position  he  held  until  1873. 
While  he  has  never  equaled  in  popularity  his  younger  brother,  as  an 
historical  painter  he  has  been  successful.  Among  his  earlier  works, 
four  are  in  the  National  Gallery,  “ The  Sacking  of  Basing  House  ” 
(E.  A.,  1836),  “The  Pillaging  of  a Jew’s  House”  (E.  A.,  1839), 
“ Clarissa  Harlowe  in  the  Sponging-House  ” (Society  of  British  Artists, 
1833),  and  “Bloodhounds  and  Pups”  (Brit.  Ins.,  1839).  He  is  still  a 
regidar  contributor  to  the  exhibitions  of  the  Eoyal  Academy.  In  1860 
he  sent  “ Trust  ” ; in  1861,  “ Births,  Marriages,  and  Deaths”  ; in  1865, 
“ Savage  discovering  his  Parentage  ” ; in  1867,  “ Cromwell  at  the 
House  of  Sir  Walter  Stewart  in  1651  in  1868,  “ Eustic  Gallantry  ” ; 
in  1870,  “ Surrender  of  Arundel  Castle  in  1643”;  in  1871,  “Waj'- 
farers”  ; in  1872,  “ The  Hamlet  of  St.  Martin-in-the-Fields  ” ; in  1875, 
“ Dick  ” ; in  1876,  “ A Langum  Fishwoman,  Tenby  ” ; in  1877,  “ Pa- 
mela concealing  her  Correspondence  between  the  Tiles.” 

Landseer,  Sir  Edwin,  E.  A.  (Brit.)  Born  in  London  (1802  - 
1873).  Youngest  son  of  John  Landseer,  a distinguished  engraver, 
from  whom  his  children  inherited  their  decided  artistic  talent.  Ed- 
win received  his  first  lessons  in  drawing  from  his  father,  and  at  a very 
early  age  displayed  great  abilities  as  a sketcher  and  that  love  of  the 
brute  creation  which  has  been  displayed  in  his  works.  At  the  South 


36  ARTISTS  OF  TEE  NINETEENTH  CENTURY. 


Kensington  Museum  are  shown  some  of  these  wonderfully  clever 
drawings,  executed  by  him  when  a child  of  from  five  to  ten  years.  In 
1816  he  entered  the  Royal  Academy,  contributing  at  the  same  time, 
when  only  fourteen  years  of  age,  pictures  to  several  of  the  public  gaUer- 
ies  throughout  the  country.  He  subsequently  studied  under  Haydon. 
His  “Dogs  Fighting”  (engraved  by  his  father)  was  painted  in  1818, 
and  “ The  Dogs  of  St.  Gothard  discovering  a Traveler  in  the  Snow  ” 
(also  engraved  by  the  elder  Landseer)  was  painted  in  1820.  From 
that  time  his  success  was  established,  and  his  popularity  as  an  artist 
unequaled,  until  the  day  of  his  death,  by  that  of  any  artist  in  Eng- 
land of  the  nineteenth  century.  In  1826  he  was  elected  Associate  of 
the  Royal  Academy,  and  Academician  in  1831.  He  made  his  first 
trip  to  the  Highlands  of  Scotland  in  1826,  and  there  acquired  that 
bolder  and  freer  style  which  distinguishes  his  maturer  works,  and 
there  also  first  evinced  his  fondness  for  deer  as  subjects.  Soon  after 
this  he  painted  “ Night,”  “ Morning,”  “ The  Sanctuary,”  “ Children 
of  the  Mist,”  “The  Return  from  Deer-Stalking”  (1827),  “The 
Illicit  Whisky-Still”  (1829),  “Sir  Walter  Scott  and  his  Dogs” 
(1833),  “Peace”  and  “War”  (1846),  “The  Dialogue  at  Water- 
loo” (1850),  “ Rough  and  Ready ” (1857),  and  “The  Maid  and  the 
Magpie”  (1858).  He  was  knighted  in  1850.  In  1855  at  the  Paris 
Exposition  he  received  one  of  the  two  large  gold  medals  awarded  to 
Englishmen.  The  list  of  his  works  is  very  large,  and  many  of  them 
have  been  engraved.  Fourteen  of  his  pictures  are  in  the  National 
Gallery  in  London,  including  the  “ Alexander  and  Diogenes,”  “ Peace  ” 
and  “War,”  “Dignity  and  Independence”  (painted  in  1839),  “The 
Sleeping  Bloodhound,”  “ Low  Life  ” and  “ High  Life,”  “ Highland 
Music,”  “ Shoeing  the  Bay  Mare,”  and  “ The  Dialogue  at  W aterloo,” 
representing  the  Duke  of  Wellington  explaining  to  the  Marchioness 
of  Douro,  his  daughter-in-law,  the  incidents  of  the  great  fight  years 
after  it  had  occurred.  This  is  considered  one  of  the  best  of  the  few 
figure-pieces  he  has  painted.  In  the  Sheepshanks  Collection  of 
South  Kensington  are  sixteen  of  his  works,  — “ Dog  and  the  Shadow,” 
“ Suspense,”  “ The  Old  Shepherd’s  Chief  Mourner,”  “ Comical  Dogs,” 
“ A Highland  Breakfast,”  “ The  Drove’s  Departure,”  and  others.  In 
1864  he  e.xhibited  at  the  Royal  National  Academy,  “ Piper  and  Pair 
of  Nut-Crackers  ” (sold  for  1,000  guineas)  and  “ Windsor  Park  ” ; 
in  1865,  “ Prosperity,”  “ Adversity,”  and  “ The  Connoisseurs  ” ; in 
1866,  “ Lady  Godiva’s  Prayer,”  “ The  Chase,”  and  “ Odds  and  Ends”  ; 
in  1867,  “Her  Majesty  at  Osborne”  and  “Wild  Cattle  of  ChiUing- 
ham”  ; in  1868,  “Rent  Day  in  the  Wilderness”  ; in  1869,  “Study of 
a Lion”  and  “ The  Swannery  invaded  by  Eagles  ” ; in  1870,  “ Queen 
Victoria  meeting  the  Prince  Consort  on  his  Return  from  Deer-Stalk- 
ing  ” and  “ The  Doctor’s  Visit  to  Poor  Relations  at  the  Zoological 
Gardens”  ; in  1872,  “The  Baptismal  Font”  and  “The  Lion  and  the 
Lamb”  ; in  1873,  “Tracker”  and  a “Sketch  of  the  Queen,”  which 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  37 


was  never  finished.  His  pictures  have  brought  very  large  prices  : 
“ Oxen  at  the  Tank,”  a small  pen-and-ink  sketch,  was  sold  after  his 
death  for  300  guineas  ; “ Man  proposes  and  God  disposes  ” brought 
2,500  guineas  in  1864.  A very  large  and  complete  exhibition  of 
Landseer’s  etchings  and  sketches  was  held  in  London  in  1875.  He 
designed  the  sculptured  lions  at  the  base  of  Nelson’s  Monument,  Tra- 
falgar Scpiare,  unveiled  in  1867,  but  was  not  as  successful  in  sculpture 
as  in  painting. 

“Take,  for  instance,  one  of  the  most  perfect  poems  or  pictures  (I  use  the  words  as 
synonymous)  which  modern  times  have  seen,  ‘ The  Old  Shephei’d’s  Chief  Mourner.  ’ Here 
the  exquisite  execution  of  the  glossy  and  crisp  hair  of  the  dog,  the  bright,  sharp  touch- 
ing of  the  green  bough  beside  it,  the  clear  painting  of  the  wood  of  the  coffin,  .are  lan- 
guage,— language  clear  and  expressive  in  the  highest  degree It  ranks  as  liigh  art, 

and  stamps  its  author,  not  as  the  neat  imitator  of  the  texture  of  a skin  or  the  fold  of  a 
drapery,  but  as  the  man  of  mind.” — Rusk  in’s  Modern  Painters. 

“ One  of  Stanfield's  landscapes  or  of  Landseer's  hunting-pieces  is  worth  all  the  mystic 
daubs  of  .all  the  Germans.”  — Macaulay’s  Life  and  Letters,  Vol.  II.  Chap.  XIV. 

“ Landseer  has  great  merit  not  only  as  a painter  of  deer  and  dogs  and  horses,  but  as 
an  artist  most  skillful  in  his  delineation  of  hum.an  figures,  and  of  original  genius  in  the 
representation  of  vast  subjects  in  small  isolated  series  of  individualized  parts  conceived 
and  wrought  out  with  such  powers  of  comprehension  and  concentration  tliat  in  a single 
episode  of  ‘ Peace  ’ and  ‘ W.ar,’  all  of  the  blessings  of  the  former,  .all  of  the  horrors  of  the 
latter,  are  conveyed  to  the  mind  of  the  person  who  looks  on  these  masterpieces.  There  is 
in  Landseer’s  compositions  an  exquisite  delicacy  of  organization,  an  acute  sense  of  per- 
ception of  all  that  is  harmonious  in  nature  or  art,  a nervous  susceptibility  of  all  im- 
pressions, pleasing  or  poetical,  such  as  it  would  be  difficult  to  find  in  other  artists.”  — 
Memoirs  of  the  Countess  of  Blessington. 

“ Landseer  has  been  distinguished  for  his  masterly  handling  of  his  art  and  the  singular 
exiiertness  with  which  he  has  been  able  to  paint.  His  pictures  have  been  largely  en- 
graved, and  have  commanded  a large  sale Hardly  a house  which  contains  an 

engraving  at  .all  is  without  one  of  a picture  of  Landseer.”  — Mrs.  Tytler’s  Modern 
Painters. 

“As  monumental  sculptures  these  Lions  of  Landseer’s  in  Trafalgar  Square  have  been  a 
mistake  throughout : badly  planned,  badly  modeled,  .and  badly  cast.” — Saturday  Review, 
1807. 

“The  noble  Lions  at  the  foot  of  Nelson’s  Column  were  added  by  Sir  Edwin  Landseer 
in  1867.  Only  one  of  them  avas  modeled  : a slight  variation  in  the  treatment  adapted 
the  others  to  their  pedestals.  Their  chief  grandeur  lies  in  their  mighty  simplicity.”  — 
Hare’s  Walks  in  Lomion,  1878. 

Landseer,  George.  (Brit.)  Son  of  Thomas  Landseer.  He  died 
in  1878.  A portrait-painter  of  some  merit.  He  also  exhibited  land- 
scapes from  time  to  time. 

Lane,  B.  J.,  A.  R.  A.  (Brit.)  (1800-1872.)  A grand-nephew  of 
Gainsborough.  He  was  articled  in  1818  to  Heath,  the  well-known  line- 
engraver,  but  soon  turned  his  attention  to  lithography,  in  which  branch 
of  his  profession  he  was  wonderfully  successful,  practicing  it  for  many 
years,  and  reproducing  many  works  of  Landseer,  Leslie,  Lawrence, 
Gainsborough,  and  other  artists.  In  1827  he  was  made  an  Associate  of 
the  Royal  Academy,  and  in  1837  he  was  appointed  Lithographer  to 
the  Queen.  He  devoted  himself  particularly  to  engraving  on  copper 


38  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


(luring  the  last  years  of  his  life,  and  was  for  some  time  superintendent 
of  the  etching  class  at  the  South  Kensington  iluseum. 

Lang,  Louis,  N.  A.  (Ger.-Am.)  Born  in  Wiirtemberg,  1814.  Son 
of  an  historical  painter.  He  early  showed  a taste  for  art,  and  between 
the  age  of  si.\teen  and  twenty  executed  several  hundred  pastel  por- 
traits of  the  people  among  whom  he  lived.  In  1834  he  went  to  Paris 
for  the  purpose  of  study  ; spent  some  time  at  Stuttgart,  and  sailed  for 
America  in  1838,  living  in  Philadelphia  several  years.  He  then  re- 
turned to  Europe,  passing  five  or  six  years  in  Venice,  Piome,  Florence, 
and  Paris.  In  1852  he  was  made  a member  of  the  National  Acad- 
emy of  New  York,  making  that  city  his  home.  He  visits  Europe  fre- 
cpiently,  and  is  at  present  (1878)  in  Florence.  He  is  a member  of  the 
Artists’  Fund  Society  of  New  York,  contributing  to  its  sale  in  1878, 
“Chasing  Butterflies,”  “Fresh  Cherries,”  and  “Neapolitan  Fisher 
Family.”  Lang  sent  to  the  National  Academy,  New  York,  in  1869, 
“ The  Stolen  Child  ” and  “ Asleep  in  Prayer  in  1870,  “ Fresh  Flow- 
ers ” and  “An  Old  Mill  at  Greenwich,  Ct.”;  in  1871,  “Little  Gra- 
ziosa  among  the  Butterflies,”  “ Blind  Nydia,”  and  “ Jephthah’s  Daugh- 
ter.” He  sent  to  the  American  Centennial  E.xhibition  of  1876  his 
“ Landing  of  the  Market-Boat  at  Capri.”  His  “ Mary  Stuart  distrib- 
uting Gifts  ” and  the  “ Maid  of  Saragossa  ” are  in  the  gallery  of  Robert 
L.  Stuart. 

“ Lang  indulges  in  brilliant  colors,  and  has  executed  several  large  and  glowing  pictures 
of  our  popular  holidays  : he  is  fond  of  delineating  female  and  infantile  beauty  with  gay 
dresses  and  flowers,  and  has  adventured  somewhat  in  historic  art.  ” — Tuckekman’s  Book 
of  the  Artists. 

“In  Lang’s  studio  in  Rome  are,  ‘A  Bivouac  of  Circassian  Slaves,’  ‘Marj-,  Queen  of 
Scots,’  ‘Cleopatra,’  ‘ Preziosa,  or  the  Stolen  Child,’  and  ‘Cinderella.’  ....  The  color 
of  ‘ Cinderella  ’ is  very  rich  and  admirably  managed,  as  well  as  the  contrast  between  the 
haughty,  conquest-anticipating  sisters,  and  the  gentle,  beautiful  one  who  serves  them.’’ 
— Art  Journal,  September,  1S75. 

Langerfeldt,  T.  O.  {Ger.-Am.)  Born  in  Buckeburg,  Principality 
of  Schaumburg-Lippe,  Germany,  1841.  Studied  as  an  architect  at  the 
Polytechnical  School  of  Hanover,  and  became  a landscape-painter 
upon  his  removal  to  England,  where  he  spent  five  years.  He  settled 
in  Boston  in  1868,  and  has  since  resided  in  that  city,  making  a trip  to 
Germany  and  the  Netherlands  in  1874.  Some  of  Langerfeldt’s  ar- 
chitectural drawings  in  water-color  are  in  the  possession  of  the  Super- 
intending Architect  at  the  Treasury,  lYashington,  D.  C.,  and  many  of 
his  views  of  New  England  scenery,  exhibited  at  Boston  and  New 
York,  are  in  the  private  galleries  of  those  cities.  There  was  an  e.x- 
hibition of  his  works  in  the  gallery  of  the  Boston  Art  Club  in  the 
winter  of  1874,  upon  his  return  from  Europe.  For  one  of  his  archi- 
tectural water-color  drawings  he  was  awarded  a prize  at  the  Centennial 
Exhibition  of  1876. 

“ Mr.  Langerfeldt’s  style  is  refresliing  in  its  freedom  and  unconventionality.  His  col- 
oring is  bright,  harmonious,  and  agreeable  ; and  his  manner  combines  aerial  delicacy  of 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  39 


tone  with  a manly  strength The  collection  is  remarkable  for  its  architectural 

features,  great  towers  with  queer  turrets,  gables,  and  picturesque  excrescences  breaking 
out  in  unexpected  places ; noble  cathedrals,  curious  street  scenes,  pictui'esque  roadside 
shrines,  and  pretty  cottages.  There  are  some  admirable  landscapes  and  wood  interiors.'* 
^ Boston  Herald,  November,  1874. 

“ We  particularly  noticed  a pair  of  Langerfeldt*s  water-colors,  which  were  full  of 
nature’s  spirit.  The  forest  piece  struck  us  as  being  very  happy  in  its  effect  of  luminosity. 
Mr.  Langerfeldt  goes  to  nature  as  his  master,  and  while  he  may  not  master  nature,  as  no 
aidist  can,  he  masters  important  features.  He  secures  an  out-door  effect,  which  is  seen 
in  all  liis  works.'’  — Boston  Transcript,  January  19,  1876. 

Lanoue,  Felix  Hippolyte.  (-PV.)  Born  at  Versailles  (1812-1872). 
Chevalier  of  the  Legion  of  Honor.  Pupil  of  V.  Berlin  and  Horace 
Vernet.  Landscape-painter.  His  “ View  of  a Forest  of  Pines  ” is 
at  the  Luxembourg.  Some  of  his  works  are  at  Versailles,  at  the 
church  of  Saint-Etiemie-du-Moiit,  and  in  various  public  places. 

Lansil,  Walter  F.  {Am.)  Born  in  Bangor,  Me.,  1846.  He 
studied  art  in  his  native  city  under  J.  P.  Hardy,  but  has  spent  the 
greater  part  of  his  professional  life  in  Boston.  He  was  elected  a 
member  of  the  Bangor  Art  Association  in  1876,  of  the  Boston  Art 
Club  in  1877.  He  makes  marine  views  a specialty.  Among  his 
most  important  pictures  are,  “ Crossing  the  Georgfes’  ” (belonging  to 
the  Boston  Marine  Insurance  Company),  “Abandoned,”  “Sunset, 
Boston  Harbor,”  “ Fishermen  in  a Calm,”  etc. 

“Walter  F.  Lan.sil’s  last  important  painting  is  still  on  his  easel,  awaiting  the  final 
touches.  It  is  a view  of  Charlestown  and  that  portion  of  the  harbor  which  is  embraced 
in  a view  from  the  southeast.  The  sun  is  setting  in  a glowing  sky  that  is  varied  by 

fleecy  clouds,  tinged  with  crimson  and  gold A shimmering  light  that  is  thrown 

by  the  sun  upon  the  water  is  rendered  with  great  success,  and  the  masts  of  the  shipping 
on  the  i)iers,  in  the  middle  distance,  rising  suggestively  from  the  sun-bathed  mists,  add 
much  to  the  poetry  of  the  scene.’’  — Boston  Daily  Evening  Traveller,  May  2,  1878. 

Lansyer,  Emmanuel.  {Fr.)  Born  at  File  Bouin  (Vendee),  1835. 
Medals,  1865,  ’69,  and  ’73.  Pupil  of  Courbet  and  Harpignies.  Painter 
of  marines  and  landscapes.  Many  of  his  motives  are  from  Brittany. 
He  has  also  painted,  in  the  grand  vestibule  of  the  Palace  of  the  Legion 
of  Honor,  a large  picture  called  “ View  of  the  Palace  of  the  Legion 
of  Plonor,  taken  from  the  Quai  d’Orsay.”  At  the  Luxembourg  is  his 
“ Landscape,  — the  Chateau  of  Pierrefonds  ” (1869).  At  the  Salon  of 
1878  he  exhibited  “ Flowering  Fields,  near  Douarnenez  ” and  a “ Vue 
de  la  Cour  du  May  aw  XV°  siecle”  for  a salon  in  the  Palais-de- Justice. 

Laoust,  Andre-Louis-Adolphe.  (Fr.)  Born  at  Douai.  Medals 
in  1873  and  ’74.  Pupil  of  Joutfroy.  At  the  Salon  of  1877  he  exhib- 
ited “ St.  John  with  his  Cross”  and  a portrait  bust  in  bronzed  plaster; 
in  1876,  a medallion  portiait ; in  1875,  two  portraits;  in  1874,  “Am- 
phion,”  a marble  statue,  a group  in  plaster,  “ The  Capture,”  and  a 
bust  in  plaster  ; in  1878,  “ Spes”  (a  statue  in  plaster)  and  a portrait 
bust. 

Lapierre,  Louis  Emile.  (Fr.)  Born  at  Paris  about  1820.  Chev- 
alier of  the  Legion  of  Honor.  Pupil  of  Victor  Berlin.  Among  his 


40  ARTISTS  OF  THE  NINETEENTn  CENTURY. 


pictures  are,  “ Twilight,”  “ A Pond  in  the  Forest  of  Champagne,” 
“ Interior  of  a Forest,”  “ Setting  Sim  in  Winter,”  etc. 

Lapito,  Louis-Auguste.  {Fr.)  Born  at  Saint-Maur  (1805  - 
1874).  Chevalier  of  the  Legion  of  Honor  and  of  the  Order  of  Bel- 
gium. Pupil  of  Watelet  and  Heim.  He  traveled  much  on  the  Con- 
tinent of  Europe.  Perhaps  his  water-colors  are  more  admired  than 
his  oils.  His  works  are  seen  in  public  galleries  in  France,  Holland, 
and  Belgium.  They  are  all  landscapes. 

Lapostolet,  Charles.  {Fr.)  Bom  at  Velars.  Pupil  of  Cogniet. 
At  the  Salon  of  1877  he  exhibited  “Eouen”aud  “The  Station  at 
Auteuil.”  His  pictures  are  aU  landscapes.  At  the  Royal  Academy, 
in  1872,  he  exhibited  “ Low  Tide  at  Trouville.”  His  “ View  of  the 
Canal  Saint-Martin  at  Paris,  Winter,  from  the  Bridge  of  the  Street 
Buttes-Chaumont  ” (1870)  is  in  the  Luxembourg.  At  the  S.alon  of 
1878  he  exhibited  “ The  Canal  of  the  Giudecca,  Venice.” 

Lasch,  Karl  Johann.  {Ger.)  Born  at  Leipsic,  1822.  Professor 
at  Diisseldorf  and  member  of  the  Academies  at  Dresden,  Vienna,  and 
St.  Petersburg.  Medals  at  Berlin,  Dresden,  Vienna,  and  Philadel- 
phia. Studied  at  the  Dresden  Academy  under  E.  Bendemann,  and 
at  Munich  under  Schnorr  and  Kaulbach.  In  1847  he  visited  Italy. 
Later,  he  painted  portraits  at  Moscow.  In  1857  he  settled  in  Paris. 
In  1860  he  removed  to  Diisseldorf.  His  pictures  are  of  genre  subjects, 
and  he  inclines  to  romantic  and  idyllic  scenes.  In  the  National  Gal- 
lery at  Berlin  is  the  “ Master’s  Birthday.” 

Lathrop,  Francis.  {Am.)  Born  on  the  Pacific  Ocean,  two  days’ 
sail  from  the  Sandwich  Islands,  in  1849.  In  1860  he  began  thestudy 
of  art  under  T.  C.  Farrar  in  New  York.  He  went  to  Germany  in 
1867,  entering  the  Royal  Academy  of  Dresden.  In  1870  he  settled  in 
London,  remaining  three  years  in  the  studio  of  Madox  Brown.  He 
was  for  some  time  during  his  London  residence  with  William  Morris, 
in  his  establishment  for  the  manufactory  of  artistic  household  goods, 
and  was  also  an  assistant  of  Spencer  Stanhope.  Since  1870  he  has 
lived  in  the  United  States.  He  has  painted  portraits,  furnishing,  also, 
illustrations  for  Clarence  Cook’s  “ House  Beautiful,”  and  other  publi- 
cations of  Scribner  & Co.  He  is  a member  of  the  Society  of  Amer- 
ican Artists,  sending  to  its  first  exhibition,  in  1878,  portraits  of 
Thomas  and  Ross  R.  Winans.  He  assisted  in  the  decoration  of 
Trinity  Church,  Boston,  of  which  he  designed  the  chancel.  During 
the  winter  of  1878  he  was  engaged  in  decorating  the  interior  of 
Bowdoin  College  Chapel  at  Brunswick,  Me. 

Latouche,  Louis.  {Fr.)  Born  at  Ferte-sous-Jouame.  A marine- 
painter.  At  the  Cottier  sale,  New  York,  1878,  his  “ Normandy  Coast- 
Scene  ” sold  for  $ 745.  At  the  Paris  S;don  of  1878  he  exhibited 
“ The  Beach  at  Berck  ” (Pas-de-Calais). 

Lauder,  Robert  Scott.  {Brit.)  Born  in  Edinburgh  (1803- 
1869).  He  became  a student  of  the  Trustees  Academy  at  the  age 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  41 


of  fifteen.  About  1823  he  went  to  London,  studying  for  three  years 
in  the  British  Museum.  He  visited  Italy  in  1833,  remaining  until 
1838,  in  close  observation  and  study,  in  Rome  and  Florence.  He  re- 
sided in  London  until  1850,  when  he  settled  in  Scotland,  and  became 
principal  instructor  in  the  Trustees  Academy.  He  exhibited  fre- 
quently at  the  Royal  Academy  and  the  Royal  Scottish  Academy,  of 
which  latter  institution  he  was  made  a full  member  in  1830,  He 
was  the  author  of  many  popular  pictures,  illustrative  of  Scottish 
history  and  romance,  many  of  which  have  been  engraved.  Among 
these  may  be  mentioned,  “Meg  Merrilies,”  “The  Fair  Maid  of 
Perth,”  “ The  Bride  of  Lammermoor,”  and  “ The  Trial  of  Effie 
Deans.”  His  “ Christ  teaching  Humility  ” is  in  the  Scottish  National 
Gallery.  By  reason  of  ill-health  he  did  not  practice  his  profession  for 
some  years  before  his  death. 

Lauder,  James  XS.  (Brit.)  (1812-1869.)  He  studied  under  Sir 
William  Allan  in  Edinburgh,  and  spent  fi.ve  years  in  study  in  Rome. 
He  was  made  Associate  of  the  Royal  Scottish  Academy  in  1842 
and  Academician  in  1849.  In  1847  he  received  from  the  Committee 
for  the  Decoration  of  Westminster  Hall  a prize  of  £ 200  for  his 
“ Wisdom  ” and  “ The  Unjust  Steward.”  Among  his  most  popular 
works  may  be  mentioned,  “ Ferdinand  and  Miranda,”  “ Lorenzo  and 
Jessica,”  “ The  Toilet,”  “ The  Money-Lender,”  “ Time  Changes,” 
“ Gethsemane,”  “The  Parable  of  the  Ten  Virgins,”  “James  Watt  and 
the  Steam-Engine,”  “ Walter  Scott  and  Sandy  Ormiston,”  many  of 
which  have  been  engraved. 

Laugde,  Francois  Ddsird.  (Fr.)  Born  at  Maromme,  1823. 
Chevalier  of  the  Legion  of  Honor.  Pupil  of  Picot  and  I’Ecole  des 
Beaux- Arts.  His  picture  of  “ Eustache  Lesueur  chez  les  Chartreux  ” 
(1855)  is  at  the  Luxembourg.  “ St.  Elisabeth  of  France  washing  the 
Feet  of  the  Poor  ” (1867)  was  purchased  by  the  Emperor.  Among 
his  pictures  may  also  be  named,  “ The  Candle  of  the  Madonna  ” 
and  “Going  to  Matins”  (both  scenes  of  the  thirteenth  century),  in 
1877  ; “ The  Angel  who  bears  the  Censer,”  in  1876  ; “ The  Young 
Housekeeper,”  in  1875  ; many  portraits  and  mural  paintings  at  the 
church  of  St.  Peter  and  St.  Paul  at  St.  Quentin,,  in  the  church  of  the 
Trinity  at  Paris  (in  the  chapel  of  St.  Denis).  At  the  Salon  of  1878 
he  exhibited  “ An  Old  Man  ” and  “ An  Old  Woman,”  and  a cartoon 
of  his  picture  of  St.  Denis  in  the  church  of  the  Trinity. 

“ The  ‘ Martyrdom  of  St.  Denis  ’ is  a drama  which  Laugee  has  represented  full  of 
action,  tumultuous,  terrible.  Even  as  a page  of  history  alone,  it  interests  and  capti- 
vates. Behold  the  first  impression  which  comes  from  this  painting.  The  qualities 
which  a further  study  discloses  are  purity  of  design,  firmness  of  lines,  clearness  of  mise 
en  scene,  and  richness  of  coloring,  sustained  without  weakness.”  — Roger  Ballu, 
Gazette  des  Beanx-Arts,  February,  1878. 

Launitz,  Robert  R,  N.  A.  (Am.)  Born  in  Russia  (1806-1870). 
Studied  under  his  father,  a sculptor  of  some  ability.  In  1830  he 
came  to  America,  and  was  made  a member  of  the  National  Academy 


42  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


three  yeai-s  later.  Among  the  better  known  of  his  works  are  the 
Pulaski  Monument  in  Savannah,  Ga.,  the  statue  of  General  Thomas 
at  Troy,  N.  Y.,  and  several  fine  monuments  in  Greenwnod  Cemetery. 

Laurens,  Jean  Paul.  {Fr.)  Born  at  Fourquevaux,  1838.  Cheva- 
lier of  the  Legion  of  Honor,  1874.  Medal  of  Honor,  1877.  Member 
of  the  jury  for  the  Exposition  of  1878,  and  for  the  annual  Salom 
Pupil  of  Bida  and  Leon  Cogniet.  This  painter  made  his  debut  at  the 
Salon  of  1863.  His  most  important  works  are,  “ The  Death  of  the 
Duke  d’Enghien,”  at  the  Museum  of  Alengon  ; “ The  Excommu- 
nication of  Robert  the  Pious”  (1875),  now  at  the  Luxembourg; 
“Francis  di  Borgia  before  the  Dead  Isabella  of  Portugal”;  “The 
Austrian  Staff-Officers  around  the  Death-Bed  of  Marceau”  (1877), 
purchased  by  the  city  of  Ghent  for  40,000  francs  ; “ Death  of  Sainte- 
Genevieve  ” at  the  Pantheon  ; “ St.  Bruno  refusing  the  Gifts  of  Roger, 
Count  of  Calabria,”  in  the  chm’ch  of  Notre- Dame-des-Champs  ; “ Pope 
Formosa  and  Stephen  VII.”;  “The  Fishing  at  Bethsaida,”  at  the  Mu- 
seum of  Toulouse  ; “ The  Interdict,”  at  the  Museum  of  Havre  ; “ The 
Funeral  of  William  the  Conc[ueror,”  at  the  Museum  of  Beziers  ; etc. 

The  following  extract  refers  to  the  picture  of  the  “ Death  of  Mar- 
ceau  ” ; — 

“This  magnificent  picture  is  better  than  an  apotheosis  ; it  is  a transfiguration.  The 
drawing  of  Laurens  has  never  been  more  firm  and  well  sustained,  his  arrangement  never 
more  perfect,  and  his  execution  more  masterly.  Perhaps  he  might  be  a little  reproached, 
this  severe  and  sober  colorist,  for  certain  effects  of  color,  — a little  bold,  — that  of  the 
screen,  for  example,  and  the  red  cloak.  But  time  will  deaden  them,  and  bring  them  into 
a religious  harmony  with  the  whole But  of  what  import  all  these  minute  criti- 

cisms? The  universal  suffrage,  as  just  in  art  as  in  politics,  has  recognized  and  proclaimed 
immediately  in  this  work,  not  only  one  of  the  incontestable  glories  of  the  modem  school, 
but  still  more,  one  of  the  most  noble  pages  of  history  which  the  immense,  eternal,  invin- 
cible French  Revolution  inspired.”  — Mario  Proth,  Voya/je  au  Pays  des  Peintres,  1S77. 

“The  pictures  of  history,  properly  so  called,  become  more  and  more  rare  at  our  annual 
expositions.  The  genre,  landscapes,  and  portraits  make  up  the  largest  partcf  the  works 
contributed.  So  much  the  more  necessary  is  it  to  notice  the  artists  who  go  against  the  cur- 
rent bravely,  and  among  them  is  J.  P.  Laurens,  i>upil  of  Bida,  who  has  given  two  very 
remarkable  pictures  to  this  Salon  of  1S72.  One  of  them,  of  a somber  tone  and  of  singular 
energy,  represents  the  terrible  and  almost  fantastic  scene  in  which  Stephen  VII.,  having 
exhumed  the  body  of  his  predecessor.  Pope  Formosa,  bears  it,  reclothed  with  the  pon- 
tifical vestments,  into  the  Salon  of  Council ; then,  when  an  advocate  had  been  appointed 
to  reply  in  the  name  of  the  dead  Pope,  he  heaped  upon  the  corpse  adjurations  and  accu- 
sations. The  scene  is  fierce  and  savage,  and  Laurens  has  thus  treated  it  The  corpse 
of  the  dead  Pope,  with  open  mouth,  the  skin  already  black,  extended  on  the  chair,  the 
red  gloves  covering  the  tleshless  hands,  is  as  sinister  as  the  dead  of  Vald^  L^l  that  one 
sees  at  Seville.,  He  is  not  the  only  Spanish  painter  this  dismal  canvas  recalls.  We 
might  take  the  members  of  the  Council  of  Laurens  for  the  bishops  or  torturers  escaped 
from  a picture  by  Herrera.  The  face  of  the  advocate  of  the  dead,  the  menacing  gesture  of 
Stephen  VII.,  the  corpse  itself  in  which  the  drama  centers,  the  gray  walls  with  their 
crosses  of  blood,  the  tripod,  the  sepulchral  atmosphere  of  the  scene,  add  to  the  impres- 
sion produced  by  this  picture,  — one  of  the  best  of  the  Salon.”  — Jules  Clabetie, 
Peintres  et  Sculpteurs  Contempnrains. 

“ And  one  of  the  most  important  art  movements  of  the  present  day  is  caused  by  a 
munificent  expenditure  of  money  for  the  decoi'ation  of  the  entire  interior  of  the  Pan- 


ARTISTS  OF  THE  NINETEENTH  CENTURY. 


43 


theon  by  celebrated  French  artists,  with  scenes  illustrative  of  the  history  of  Sainte-Gene- 
vieve.  The  subject  is  national ; no  foreign  artist  has  ever  attemiited  it  with  success. 
To  M.  Jean  Paul  Laurens  a most  important  part  of  this  work  has  been  confided,  — 
a space  ten  yards  in  length  in  the  sight  of  the  abside.  At  the  Universal  Exhibition 
M.  Laurens  shows  nine  of  his  well-known  paintings,  including  the  ‘ Excommunicated,' 
the  ‘Borgia,’ the  ‘Execution  of  the  Duo  d’Enghien,’  and  the  ‘Death  of  General  Mar- 
ceau,’  which  took  the  medal  of  honor  at  the  Salon  of  1877.  The  lugubrious  themes  which 
have  always  inspired  the  best  efforts  of  tliis  artist  prepare  one  to  learn  that  he  has  now 
chosen  to  represent  the  closing  scene  in  the  life  of  the  saint.  The  new  work  is  stamped 
with  the  solemn  grandeur  of  style,  the  simplicity  of  effect  and  broad  handling  character- 
istic of  all  his  works,  while  the  realism  which  has  been  to  some  repulsive  is  refined  by  a 
religious  sentiment  more  elevated,  but  not  less  tragic.  The  dying  saint  is  represented 
reclining  on  a couch.  Her  hands  are  raised  to  bless  the  company  about  her.  During 
eighty  years  she  had  prayed  and  cared  for  the  poor.  Her  arms,  enfeebled  by  old  age  and 
by  privation,  are  sustained  by  two  young  girls,  who  have  reverently  interposed  a drapery 
between  their  hands  and  the  form  w'hich  is  to  them  sacred.  The  numerous  company 
around  them,  of  every  age  and  condition,  is  grouped  with  skill.  The  dignitaries  of  the 
Church  occupy  the  center.  A picturesque  assemblage  of  the  costumes  of  the  fifth  een- 
tuiy  indicates  that  the  Greek,  Latin,  and  Pagan  religions  had  all  yielded  to  her  influ- 
ence. Nearer  the  entrance  beggars  in  their  rags  contrast  with  the  richness  of  the 
principal  group.  It  is  right  that  this  interesting  historic  composition  should  be  painted 
in  lasting  materials  on  the  very  walls  of  the  Pantheon,  for  it  is  a masterjriece  and  de- 
sen'es  to  endure.”  — London  Daily  News,  May  15,  1873. 

Lauters,  Paul.  (Belgian.)  (1806-1875.)  This  artist  was  distin- 
guished for  his  excellent  landscapes  in  water-colors.  He  was  a Chev- 
alier of  the  Order  of  Leopold,  and  a Professor  in  the  Academy  of 
Brussels.  He  sometimes  painted  in  oil.  His  works  showed  a delicate 
and  refined  perception  of  the  beauties  of  Nature,  rather  than  brilliant 
color  or  powerful  execution. 

Lawman,  Jasper.  (Am.)  Bom  in  Xenia,  Ohio,  1825.  He  be- 
gan his  professional  career  at  Cincinnati  when  a lad  of  fourteen.  In 
1846  he  removed  to  Pittsburg,  Pa.,  where  he  has  since  resided.  In 
1859  he  went  to  Paris  to  study,  remaining  for  a year  under  Couture. 
His  pictures  are  owned  in  New  York,  Baltimore,  Chicago,  Philadel- 
phia, and  elsewhere.  Many  are  in  the  possession  of  Capt.  William 
Ward,  John  Scott,  Judge  W.  G.  Hawkins,  John  W.  Hampton,  John 
Dalzell,  and  other  residents  of  Pittsburg. 

Lawrie,  Alexander,  N.  A.  (Am.)  Born  in  the  city  of  New 
York,  1828.  He  began  his  studies  in  the  life  and  antique  classes  of 
the  Academy  of  Design,  and  in  the  Pennsylvania  Acndemy  of  Fine 
Arts.  Later  he  went  to  Europe,  studying  under  Picot  in  Paris  and 
E.  Leutze  in  Diisseldorf,  working  also  in  Florence.  He  occupied  a 
studio  in  Philadelphia  for  some  time,  but  has  been  a resident  of  New 
York  during  the  better  part  of  his  profes-sional  life.  He  is  a member 
of  the  Artists’  Fund  Societies  of  New  York  and  Philadelphia,  and  was 
elected  a member  of  the  National  Academy  in  1866,  to  the  annual 
exhibitions  of  which  he  is  a constant  contributor,  sending  landscapes, 
ideal  figure-pieces,  and  portraits,  in  crayon  and  oil.  In  1869  he  ex- 
hibited “ Autumn  in  the  Hudson  Highlands  ” (belonging  to  Henry 


44  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Marks)  ; in  1870,  “ A Valley  in  the  Adirondacks  ” (belonging  to  N. 
T.  Bailey)  ; etc.  His  portrait  of  Judge  Sutherland  belongs  to  the  New 
York  Bar  Association  ; that  of  Gen.  Z.  Tower  is  in  the  Library  of  the 
United  States  Military  Academy  at  West  Point.  He  has  also  painted 
Gen.  John  F.  Keynolds,  Col.  Josiah  Porter,  and  other  prominent  men. 
He  has  been  particularly  successful  in  his  portraits  of  ladies.  Among 
his  crayon  heads,  numbering  in  all  about  a thousand,  the  best  known 
are  those  of  Richard  H.  Stoddard,  Thomas  Buchanan  Read,  George  H. 
Boker,  and  other  literary  men.  His  “ Monk  playing  the  Violoncello  ” 
and  “Autumn  in  the  Highlands  ” were  at  the  Centennial  Exhibition 
of  1876. 

“ Lawrie  exhibited  a portrait  of  three-quarters  length,  which  is  simply  admirable.  Ad- 
mirable in  execution,  in  the  rich  simplicity  of  the  dress,  in  the  fresh  loveliness  of  the 
face,  and  in  the  union  of  boldness  and  stren^h  with  gentleness  and  delicacy.'* — Art 
Journal,  May,  1S77* 

Lawson,  Cecil  G.  (Brit.)  Bom  in  Shropshire,  1851.  Son  of 
William  Lawson  a portrait-painter,  under  whom  he  studied.  He  has 
lived  for  some  years  in  London.  Among  his  more  important  works 
are,  “In  the.  Valley, — a Pastoral,”  at  the  Royal  Academy  in  1873, 
and  the  Grosvenor  Gallery  in  1878  ; “ The  Hop-Gatherers  of  Eng- 
land,” exhibited  at  the  Royal  Academy  and  in  Liverpool  in  1875  ; 
“ The  Minister’s  Garden  ” and  “ Strayed,  — a Moonlight  Pastoral,”  at 
the  Grosvenor  Gallery  in  1878;  “The  Dragon-Flies,”  never  pub- 
licly exhibited ; etc.  His  pictures  are  in  the  possession  of  Viscount 
Powerscourt,  Godfrey  Fawsett,  Louis  Huth,  Mrs.  P.  Flower,  and 
others. 

A distinctive  place  C.  G.  Lawson  has  undoubtedly  taken  as  one  of  the  first  to  at- 
tempt on  a large  scale  the  reconciliation  of  the  realistic  with  the  poetic  treatment  of 
nature.  In  ‘ The  Minister’s  Garden,’  for  example,  there  is  no  want  of  painstaking  fidelity 
to  nature  in  the  sturdy  fir-tree,  the  roses,  the  hollyhocks,  and  the  beehives  in  the  fore- 
ground, nor  in  the  meadows,  swelling  uplands,  and  distant  hills,  towards  which  we  look 
from  the  garden  which  gives  its  title  to  the  picture  ; but  at  the  same  time  the  artist  has 
thrown  such  a tender  and  peaceful  sentiment  into  his  work,  harmonizing  the  bright  colors 
of  the  foreground  and  choosing  a moment  of  subdued  light  for  the  wide  expanse  of 
landscape,  that  he  has  fully  justified  himself  in  describing  it  as  ‘a  tribute  to  the  memory 
of  Oliver  Goldsmith.’  It  is  just  such  a garden  as  fancy  would  choose  for  the  Vicar  of 
Wakefield  to  sit  in.”  — London  Examiner,  May  4,  1S7S. 

‘‘Much  as  we  value  ‘The  Minister's  G.arden,’  we  prefer  to  it  Mr.  Lawson’s  second  and 
rather  less  large  picture,  ‘In  the  Valley, —a  Pastoral,’  which  we  remember  enjoying  some 
years  ago  at  the  Royal  Academy.  This  is  pre-eminently  graceful,  and  poetic  in  its  grace ; 

it  affects  one  like  a snatch  of  delicate  descriptive  lyrical  verse Even  had  we  never 

before  seen  any  productions  by  Mr.  Lawson,  what  he  now  shows  in  the  Grosvenor  Gallery 
would  prove  to  us  indisputably  his  possession  of  the  three  iirecious  qualities,  — strength, 
sweetness,  and  sentiment.”  — W.  M.  Rossetti  in  the  Academy,  June  1,  1S6S. 

La'wson,  Wilfrid.  {Brit.)  Brother  of  Cecil  G.  Lawson.  Began 
his  professional  career  as  a designer  on  wood  for  the  illustrated  periodi- 
cals, working  for  some  time  on  the  staff  of  the  Graphic.  He  resides 
in  London,  and  has  exhibited  in  colors  and  black  and  white  at  the 
Royal  Academy,  Dudley  Gallery,  and  elsewhere. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  45 


“Mr.  Wilfrid  Lawson  has  made  himself  distinctly  the  artist  of  ‘The  Children  of  tlio 
City.'  Ill  past  years  he  has  shown  us  at  the  Academy  one  canvas  in  which  the  little 
street  Arabs  are  making  tliemselves  as  merry  as  may  be  with  shadow  figures  on  the 
walls,  and  anotlier  in  wliich  a boy  and  a girl  of  the  same  pathetic  race  are  looking  up 
wistfully  at  a tree,  whose  blossoms,  guarded  by  the  iron  railings  of  a garden,  suggest,  like 
tlie  children’s  city-bound  lives,  ‘ Imprisoned  Spring,*  the  title  of  the  work.  This  year 
the  artist  exhibits  a third  of  the  series  in  Pall  Mall.  ‘ Dawn’  represents  the  interior  of  a 
wretched  room  in  a London  slum,  where  a dying  girl,  supported  in  lier  brother's  arms,  is 
lying  on  the  floor,  watching  through  the  windows  the  first  gleams  of  light  breaking  on 
the  city,  — symbolic  of  the  heavenly  dawn  about  to  beam  upon  her  soul.  This  picture, 
like  its  predecessors,  proves  that  Mi*.  Wilfrid  Lawson  is  not  a mere  sentimentalist,  but 
a painter  who  is  also  a poet.”  — Marjazlne  of  Art^  August,  1878. 

Lay,  Oliver  Ingraham,  A.  N.  A.  (Am.)  Born  in  the  city  of 
New  York,  1845.  A painter  of  portraits  and  of  genre  pictures.  De- 
voted himself  to  art  in  his  early  youth  ; studied  in  the  schools  of  the 
Cooper. Institute  and  of  the  Academy  of  Design  in  his  native  city^ 
where  his  entire  professional  life  has  been  spent.  He  was  also  a pupil 
of  Thomas  Hicks  for  three  years,  and  has  been  a constant  exhibitor 
for  some  time  in  the  National  Academy,  of  which  he  was  made  an 
Associate  Member  in  1876.  He  was  elected  a member  of  the  Artists’ 
Fund  Society  the  same  year.  Among  his  portraits  exhibited  in  dif- 
ferent seasons  may  be  mentioned  those  of  James  Barton,  Mrs.  Eliza 
Riddle  Field,  Mrs.  Jeremiah  Plendricks  of  Red  Hook,  N.  Y.,  John 
Rodgers  of  Albany,  N.  Y.,  John  Delafield,  Winslow  Homer,  C.  C. 
Colman,  C.  C.  Griswold,  and  Miss  Fidelia  Bridges  (the  last  four 
belonging  to  the  National  Academy).  Among  his  genre  works  are, 
“The  Letter,”  “ The  Window”  (owned  by  J.  M.  Toucey),  and  “ The 
Two  Friends”  (in  the  collection  of  John  H.  Sherwood). 

“ ‘ Tlie  Letter,' by  O.  I.  Lay,  represents  a dark-eyetl,  dark-haired  girl,  sitting  by  an 
open  window,  through  which  is  seen  an  apple-orchard  in  early  bloom.  She  is  engaged  in 
writing  upon  her  lap,  in  true  feminine  fashion.  The  story  is  not  a new  one,  but  it  is 
cleverly  told.  The  face  and  figure  are  well  and  gracefully  drawn,  the  position  is  natural 
and  unconstrained,  and  the  flesh-tints  are  admirable The  drawing  of  the  inte- 

rior, the  bright  colors  of  the  Moorish  rug  on  the  floor,  the  little  vase  of  spring  flowers  in 
the  window,  and  the  old  chest  of  drawers  with  the  quaint  brass  knobs,  is  excellent.*’— 
New  York  Arcadian,  December  15,  1877. 

Lazerges,  Jean  Raymond  Hippolyte.  (Fr.)  Born  at  Nar- 
bonne,  1817.  Chevalier  of  tlie  Legion  of  Honor.  Pupil  of  David 
d’ Angers  and  Bouchot.  Many  of  his  subjects  are  religious.  A “ De- 
scent from  the  Cross  ” (1855)  is  at  the  Luxembourg  ; another  repre- 
sentation of  the  same  subject  is  in  the  chateau  d’Eu.  “ The  Death  of 
the  Virgin”  (1853)  was  painted  for  the  chapel  of  the  Tuileries,  and 
was  seen  at  the  Exposition  of  1867.  Lazerges  has  executed  works  at 
the  church  of  Notre  Dame  de  Bon  Secours,  near  Rouen,  at  a chapel 
of  the  convent  of  La  Providence,  in  the  same  city,  and  the  ceiling  of  the 
theater  of  Nantes.  In  1877  he  exhibited  at  the  Salon,  “ Falma  the 
Singer  ” and  “ The  Moors  in  the  Court  of  the  Marabout  on  Friday, 
which  is  their  Sunday  in  1876,  “Caravan  of  Kabyles”;  in  1875, 
“The  Resurrection,”  “ Louis  XVI.  and  Marie  Antoinette  at  Versailles,” 


46  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


and  “Jesus  led  to  Prison”;  in  1874,  “ Stabat  Mater”;  in  1873,  “The 
Christ  of  the  Nineteenth  Century”;  etc.  Lazerges  is  a musician,  and 
has  composed  several  songs.  He  has  also  written  for  journals,  and 
published  some  hooks. 

Leader,  Benjamin  William.  {Brit.)  Bom  in  1831.  Entered 
the  schools  of  the  Royal  Academy  in  1854,  exhibiting  “ Cottage  Chil- 
dren blowing  Bubbles,”  his  first  picture,  the  same  year.  In  1855  he 
sent  “ A Bird-Trap  ”;  in  1857,  a “ Stream  from  the  Hills  ”;  in  1860, 
“A  Worcestershire  Lane”;  in  1863,  “A  Welsh  Churchyard”;  in 
1867,  “ Through  the  Glen  ”;  in  1871,  “ The  Stream  through  the  Birch- 
Wood”;  in  1872,  “Wild  Wales”;  in  1874,  “The  Thames  at  Streat- 
ley  ”;  in  1875,  “ The  Wetterhorn  ”;  in  1876,  “ An  English  Hayfield  ” 
and  “A  November  Evening”;  in  1877,  “Lucerne”  and  “Lauter- 
brunnen”;  in  1878,  “Autumn  in  Switzerland”  and  “ Summer-Time 
in  W orcestershire.  ” 

“Mr.  Leader's  ‘ Country  Churchyard  ’ [R.  A.,  64],  taken  apparently  at  Bettws-y-Cocd, 
deserves  notice  for  its  brilliancy,  and  for  the  very  truthful  style  of  its  architecture.”  — 
Palo  rave’s  Essays  on  Art. 

Le  Slant,  Julien.  (Hr.)  Born  at  Paris.  Medal  of  the  third  class 
in  1878,  when  he  exhibited  the  “Death  of  General  d’Elbee.”  In 
1877  he  exhibited  “ La  partie  de  tonneau.” 

Lechesne,  Auguste.  {Fr.)  Born  at  Caen,  1819.  Chevalier  of 
the  Legion  of  Honor.  He  went  to  Paris  to  study,  and  first  attracted 
attention  by  a frieze  which  he  executed  in  the  Maison  d’Or.  From 
this  time  he  was  constantly  employed  in  decorating  the  hotels  of  Paris. 
He  has  sent  to  the  Salons  several  works,  and  especially  excels  in  the 
representation  of  animals.  Larousse  says  : — 

“ Lechesne  of  Caen  does  not  understand  animals  like  Barye,  but  he  models  his  sub- 
jects with  so  much  sjurit  and  taste,  and  gives  them  so  much  animation  and  nicety,  that 
their  attraction  is  almost  irresistible.  It  is  not  grand  art,  but  it  is  the  genrt  ■sculptui'e, 
appreciable  by  all,  attractive  and  charming.” 

At  the  Salon  of  1878  he  exhibited  “ A Dog  dying  on  the  Tomb  of 
his  Master.” 

Le  Clear,  Thomas,  N.  A.  {Am.)  Born  in  Owego,  N.  Y.,  1818. 
He  displayed  a talent  for  art  as  a child,  and  sold  ideal  heads  painted  on 
rough  boards  to  his  neighbors  before  reaching  bis  teens.  In  1832  he 
was  taken  by  his  himily  to  London,  Canada,  where  he  painted  portraits, 
but  met  with  indifferent  success.  He  settled  in  New  York  in  1839,  and 
(with  the  exception  of  a few  j-ears  passed  in  Buffalo)  his  professional 
life  has  been  spent  in  that  city.  He  was  made  a member  of  the  Na- 
tional Academy  in  1863.  Among  his  earlier  works  are  the  “ Marble- 
Players  ” (which  belonged  to  the  Art  Union),  the  “ Itinerant  ” (in 
the  National  Academy  of  1862),  and  his  “ Young  America.”  He  has 
painted  the  portrait  of  Edwin  Booth  as  Hamlet,  Gifford  and  McEntee 
the  artists,  Daniel  R.  Dickinson,  President  Fillmore,  Dr.  Vinton  (1870), 
Bayai'd  Taylor,  E.  W.  Stoughton  (1877),  Parke  Godwin  (at  the  Na- 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  47 


tional  Academy,  1877,  and  the  Paris  Exposition  of  1878),  George 
Bancroft  (in  the  Century  Club),  and  William  Page  (in  the  Corcoran 
Gallery,  Washington).  He  exhibits  occasionally  at  the  Royal  Acad- 
emy, London,  and  the  journals  of  that  city  have  spoken  well  of  his 
works,  saying  that  they  are  among  the  best  in  the  Academy,  fine  in 
color,  graceful,  pleasing  in  tone,  with  great  individuality,  a “ sense  of 
oneness,  caused  hy  a subtle  rendering  of  all  the  parts  in  their  just 
relation  one  with  another,”  and  that  “ they  exhibited  in  a marked 
degree  many  of  the  rare  qualities  of  great  portraiture.” 

“ To  the  native  facility  for  imitation,  Le  Clear  now  unites  remarkable  power  of  char- 
acterization, a peculiar  skill  in  color,  and  minute  authenticity  in  the  reproduction  of 
latent,  as  well  as  superficial  personal  traits.  In  some  cases  his  tints  are  admirably  true 
to  nature,  and  his  Bnodeling  of  the  head  strong  and  characteristic.”  — Tuckerman's 
Book  of  the  Artists. 

" The  quiet,  subdued  tones  of  Le  Clear’s  work  [portrait  of  Page]  in  middle  tint,  its  fine 
finish,  and  the  grave  dignity  of  the  hetid,  charm  every  beholder,  so  as  to  make  him  un- 
derstand wliy  tills  noble  portrait  elicited  such  marked  praise  wlien  exliibited  in  the 
British  Royal  Academy.  Le  Clear  is  loi'tunate  in  being  so  well  represented  in  tlie  Cor- 
coran Gallery,  alongside  of  some  of  the  best  heads  of  Stuart,  Harding,  and  Healy.”  — 
Art  Journal,  July,  1878. 

Lecomte  Du  Nouy,  Jules  Jean  Antoine.  (Fr.)  Born  at  Paris, 
1842.  Chevalier  of  the  Legion  of  Honor.  Medals  at  London  and 
Vienna.  Pupil  of  Gleyre,  Gerome,  and  Signol.  “The  Bearers  of 
Bad  News”  (1872)  is  at  the  Luxembourg.  “The  Conversion  of  the 
Galley  Slaves  by  Saint  Vincent  de  Paul  ” is  at  the  church  of  the 
Trinity  at  Paris.  In  1877  he  exhibited  at  the  Salon,  “ The  Door 
of  the  Seraglio”  and  his  own  portrait ; in  1876,  “Homer  Begging”  ; 
in  1875,  “The  Honeymoon,  Venice,  Sixteenth  Century  ” and  “The 
Dream  of  Cosron  ” ; in  1874,  “ Eros  ” (at  the  Museum  of  Tours)  and 
“The  Butchers  (Iraacellaj)  of  Venice.”  For  private  galleries  he  has 
painted,  “ The  Merchant  of  Pompeii,”  “ Christians  at  the  Tomb  of 
the  Virgin,”  “ The  Repose  of  the  Scherif,”  “ Christmas  Eve  at  Jeru- 
salem,” “ Chloeat  the  Fountain,”  etc.  His  portraits  are  good.  Among 
them  is  that  of  Beranger  de  la  Drome,  for  the  Museum  of  Valence. 
His  “Invocation  of  Neptune”  (1866)  is  at  the  Museum  of  Lille. 
The  “ Love  which  Passes  ” (1869)  is  at  the  Museum  of  Boulogne. 
At  the  Salon  of  1878  he  exhibited  “ Christians  at  the  Tomb  of  the 
Virgin  at  Jerusalem  ” and  a portrait. 

Lecomte -Vernet,  Charles-Hippolyte-Emile.  (Fr.)  Born  at 
Paris  (1821  - 1874).  Chevalier  of  the  Legion  of  Honor.  Pupil  of 
H.  Vernet  and  Cogniet.  Made  his  debut  at  the  Salon  of  1833.  At 
the  Salon  of  1874 he  exhibited  “ Penelope”  and  “ Almee  ” ; in  1870, 
“ A Young  Fellah  Girl”  and  “A  Young  Girl  playing  with  an  Owl  ” ; 
etc. 

Lee,  Frederick  Richard,  R.  A.  (Brit.)  Born  towards  the  close 
of  the  last  century,  he  began  life  as  a soldier,  seeing  some  active  ser- 
vice. In  1818  he  resolved  to  devote  himself  to  art,  and  enteied  the 


48  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Royal  Academy,  exhibiting  in  its  gallery  in  1824,  and  regularly  for 
nearly  fifty  years.  He  was  elected  an  Associate  of  the  Academy  in 
1834,  and  Academician  in  1838,  and  was  placed  upon  the  list  of  Hon- 
orary Retired  Academicians  in  1872.  Among  the  better  known  of 
his  earlier  works  (many  of  which  have  been  engraved)  may  be 
noted  “Showery  Weather”  (exhibited  at  the  British  Institute  in 
1834)  ; “ Coverside,”  painted  in  1839  (in  conjunction  with  Land- 
seer) ; “ Evening  in  the  Meadows  ” (at  the  Royal  Academy  in 
1854,  the  cattle  in  the  stream  painted  by  Thomas  Cooper,  R.  A)  ; 
and  a “ River  Scene,”  at  the  Royal  Academy  in  1855  (in  which  also 
the  cattle  are  Cooper’s),  all  of  which  belong  to  the  Xatioual  Gal- 
lery. His  “ Distant  View  of  Windsor  ” and  “ Gathering  Seaweed  ” 
are  in  the  Sheepshanks  Collection.  In.  1856  he  sent  to  the  Royal 
Academy,  “ Breakwaters  at  Plymouth  ” ; in  1858,  “ The  Bay  of  Bis- 
cay ” ; in  1860,  “Summer”;  in  1865,  “ Garibaldi’s  Residence  at 
Caprera”  ; in  1867,  “The  Land  we  Live  in”  ; in  1868,  “Far  from 
the  Busy  Haunts  of  Men  ” ; in  1869,  “ Morning  in  the  Meadows  ” ; 
in  1870,  “ The  Land’s  End  and  Longships  Lighthouses,”  and  others, 
since  which  his  works  have  not  been  seen  at  the  Royal  Academy. 

Leech,  John.  {Brit.)  (1817-1864.)  Was  educated  at  the  Char- 
ter House  School  in  London,  and  was  also  a pupil  for  some  time  in  the 
Royal  Academy,  where  he  exhibited  a few  pictures  of  a genre  charac- 
ter, which  were  in  no  way  remarkable.  His  sketches  in  “ Bell’s  Life 
in  London  ” tvere  the  first  of  his  works  which  attracted  attention  to 
him  as  an  artist.  He  was  connected  with  Punch  as  early  as  1841, 
remaining  upon  the  active  staff  of  that  journal  for  twenty-three  years, 
and  receiving  for  his  services,  it  was  estimated,  £ 40,000.  Many  of  his 
sketches,  enlarged  and  colored,  were  exhibited  in  London  in  1861, 
drawing  crowds  of  visitors  and  realizing  some  £ 5,000.  The  litho- 
graphs of  these  were  very  popular  and  extensively  sold,  as  were 
his  many  contributions  to  Punch,  when  collected  in  book  form. 
Atnong  the  great  number  of  works  illustrated  by  Leech  are,  “ Jack 
Bragg,”  by  Theodore  Hook  ; several  novels  by  Albert  Smith  ; “ The 
Story  of  a Feather,”  by  Douglas  Jerrold ; “ iirs.  Caudle’s  Curtain 
Lectures  ” ; “ The  Comic  Latin  Grammar  ” ; “ The  Comic  English 
Grammar  ” ; “ The  Comic  History  of  England  ” ; “ The  Comic  His- 
tory of  Rome  ” ; Christmas  numbers  of  the  Illustrated  London  Xews ; 
Bentley’s  “ Miscellany  ” for  many  years  ; “ Jack  Hinton  ” ; “ Punch’s 
Pocket-Book,”  up  to  1864  ; the  earlier  volumes  of  Once  a Week  ; 
“ Young  Troublesome  ” ; “ Master  Jacky  in  Love”;  “The  Book  of 
British  Song  ” ; “ Puck  on  Pegasus  ”;  Blaine’s  “ Encyclopaedia  of  Brit- 
ish Sports  ” ; “ Paul’s  Dashes  of  American  Humor”  ; “ Life  of  a Fox- 
hound ” ; “ The  Christmas  Carol  ” ; “ The  Cricket  on  the  Hearth” ; 
“ The  Chimes.” 

“ John  Leech  is  different  from  all  of  these,  and  taken  as  a whole  surpasses  them  all. 
even  Cruikshank  : and  seats  himself  next,  tliough  below,  William  Hogarth.  Well  might 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  49 


Thackeray,  in  his  delightful  notice  of  his  friend  and  fellow-Carthusian  in  the  Quar- 
terly, say,  ‘ There  is  no  blinking  the  fact  that  in  Mr.  Punch’s  Cabinet  John  Leech  is  the 
right-hand  man.  Fancy  a number  of  Punch  without  Leech’s  picture  ! What  would  you 
give  lor  it?’  This  was  said  ten  years  ago  (1852).  How  much  more  true  is  it  now  ! . . . . 
It  is  this  wholesomeness,  and,  to  use  the  right  word,  this  goodness,  that  niakes  Leech 
more  than  a drawer  of  funny  pictures,  more  even  than  a great  artist.  It  makes  him  a 
teacher  and  an  example  of  virtue  in  its  widest  sense.” — Dr.  John  Brown,  in  Spare 
Hours. 

“ Nothing  was  more  characteristic  of  Leech,  and  nothing  was  more  enjoyable  in  his 
works,  than  the  evident  genial  sympathy  with  which  he  entered  into  every  phase  of  the 
many-sided  English  life  of  the  hunting-field,  the  seaside,  the  ballroom,  the  drawing- 

room,  the  nursery John  Leech  had  also  a fine  appreciation  of  English  scenery, 

and  in  those  bits  of  it  which  he  introduced  into  his  sketches  he  did  it  full  justice,  while 
he  elevated  by  their  artistic  completeness  the  character  of  the  sketches.  ” — Rossetti. 

“ Very  few  artists,  very  few  men  of  any  profession,  have  been  privileged  to  give  the 
amount  of  pleasure  which  Leech  cofiferred  in  very  different  quarters,  and  on  very  differ- 
ent ages To  the  infinite  honor  of  Leech  and  of  the  promoters  and  proprietors 

of  Punch,  it  was  pleasure  of  the  most  iunocent  description.”  — Mrs.  Tytler’s  Modem 
Painters. 

“ His  [Dickens’]  opinion  of  Leech,  in  a word,  was,  that  he  turned  caricature  into 
character  ; and  would  leave  behind  him  not  a little  of  the  history  of  his  time  and  its 

follies  sketched  with  inimitable  grace To  represent  female  beauty  as  Mr.  Leech 

represents  it,  an  artist  must  have  a delicate  perception  of  it ; and  the  gift  of  being  able 
to  realize  it  to  us  with  two  or  three  slight,  sure  touches  of  the  pencil.  This  power  Mr. 

Leech  possesses  in  an  extraordinary  degree His  wit  is  good-natured,  and  always 

the  wit  of  a gentleman.”  — Forster’s  Life  of  Dickens,  Vol.  II.  Chap.  XVIII. 

“ The  out-door  sketcher  will  not  fail  to  remark  the  excellent  fidelity  with  which  Mr. 
Leech  draws  the  backgrounds  of  his  little  pictures.  The  homely  landscape,  the  sea,  the 
winter  wood  by  which  the  huntsmen  ride,  the  light  and  clouds,  the  birds  floating  over- 
head, are  indicated  by  a few  strokes  which  show  the  artist’s  untiring  watchfulness  and 

love  of  nature No  man  has  ever  depicted  the  little  ‘ snob  ’ with  such  delightful 

touch.  Leech  fondles  and  dandles  this  creature  as  he  does  the  children.  To  remember 
one  or  two  of  these  gents  is  to  laugh.”  — Thackeray,  in  the  London  Times,  June  21, 1862. 

Lefebvre,  Charles.  {Fr.)  Born  at  Paris,  1805.  Chevalier  of  the 
Legion  of  Honor.  Pupil  of  Gros.  At  the  Salon  of  1877  he  exhibited 
“ Daimio,  — Costume  of  the  Court  of  Japan”  ; in  1816,  “ The  Separa- 
tion of  SS.  Peter  and  Paul  at  the  Moment  when  they  were  led  to  their 
Martyrdom  ” ; in  1875,  “ St.  Anne  instructing  the  Virgin  Mary  ” ; 
in  1873,  “ Lucretia,”  etc.  Charles  Lefebvre  has  also  painted  some 
portraits. 

Lefebvre,  Jules  Joseph.  {Fr.')  Born  at  Tournan,  1836.  Cheva- 
lier of  the  Legion  of  Honor.  Pupil  of  Leon  Cogniet.  He  gained  the 
grand  yinx  de  Rome  in  1861,  the  subject  being  “ The  Death  of  Priam.” 
His  “ Nymph  and  Bacchus  ” (1866)  is  in  the  Luxembourg.  In  1877 
he  exhibited  at  the  Salon,  “ Pandora  ” ; in  1876,  “ Mary  Magdalene  ” 
and  a portrait  ; in  1875,  “ Chloe  ” and  a portrait  ; in  1874,  a portrait 
of  the  Prince  Imperial;  in  1872,  “The  Grasshopper”;  in  1870, 
“ Truth  ” and  a portrait,  etc.  At  the  Latham  sale,  New  York,  1878, 
“ The  Grasshopper  ” (75  by  35)  sold  for  $ 2,950.  At  the  Salon  of 
1878  he  exhibited  “ Mignon  ” and  a portrait  of  Mme. . 

Lefuel,  Hector  Martin.  (Fr.)  Born  at  Versailles,  1810.  Com- 

VOL.  II.  3 D 


50  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


mander  of  the  Legion  of  Honor.  Member  of  the  Institute.  This 
architect  was  a pupil  of  Huyot  and  I’Jicole  des  Beaux-Arts.  He 
gained  the  grand  prix  de  Rotne  in  1839.  He  was  architect  of  the 
chateau  of  Meudon,  also  of  that  of  Fontainehleau,  and  in  1854  re- 
placed Visconti  at  the  Louvre.  In  1855  he  wafe  much  occupied  with 
the  Exposition.  He  was  soon  after  appointed  Chief  Architect  of  the 
Louvre  and  the  National  Palaces.  He  is  to  be  noticed  for  his  embel- 
lishments of  the  Tuileries.  In  1867  he  was  a member  of  the  Im- 
perial Commission  for  the  E.xposition,  and  in  1873  was  made  a 

member  of  the  Superior  Commission  of  International  Expositions. 
He  made  one  of  the  jury  at  Vienna.  He  is  also  a member  of  the 
Superior  Commission  of  the  Fine  Arts.  He  was  President  of  the 
Institute  in  1875. 

Legros,  Alphonse.  (Hr.)  Born  at  Dijon.  Slade  Professor  in 

University  College,  London.  Medals  in  1867  and  ’68.  Pupil  of  M. 

Lecoq  de  Boisbaudran.  This  artist  had  no  assistance  in  his  educa- 
tion, and  encountered  many  hardships  before  he  was  able  to  send  a 
2ucture  to  the  Salon  ; it  was  a portrait  of  his  father,  exhibited  in  1857. 
In  1875  M.  Malassis  published  an  account  of  Legros  and  his  works, 
from  which  we  give  an  extract : — 

“ As  it  always  happens,  a literary  man  was  the  first  to  take  notice  of  him.  51.  Champ- 
fleury,  — who  some  j'ears  before  had  pointed  out  MM.  Gustave  Courbet  and  FranQois 
Bouvin,  — with  his  discriminating  curiosity  always  on  the  alert,  had  remarked  in  the 
Salon  of  1857  the  jiortrait  of  a man  (the  artist’s  father),  painted  strongly  and  simply,  and 
signed  with  the  unknown  name  Legros.  He  wished  to  become  acquainted  with  the 
painter ; fancying  him  as  an  honest,  middle-aged  artist,  obscure,  deserv'ing,  and  occu- 
pied in  the  production  of  modest  work,  he  found,  to  his  surprise,  a young  man  under 
twenty,  full  of  fire  and  verve,  already  master  of  a style  at  once  solid  and  subtle,  engaged 
with  justihable  self-reliance  upon  numerous  works  in  course  of  execution  or  preparation. 
The  kind  visit  of  the  celebrated  writer  remains  as  the  pleasantest  recollection  of  the 
painter’s  early  days.  It  was  like  the  first  smile  of  fame.'’ 

In  1859  “The  Angel  us  ” by  Legros  attracted  much  attention,  es- 
pecially from  artists  ; it  was  purchased  by  an  English  amateur  artist, 
]\Ir.  Seymour  Haden.  Legros  has  resided  nearly  fifteen  years  in 
England,  where  he  has  received  the  honor  and  patronage  Achich  he 
failed  to  obtain  in  Paris  ; and  this  consideration  has  at  length  extended 
itself  to  his  native  country,  as  will  be  seen  by  the  fact  that  his  “ Ex- 
Voto  ” lias  been  purchased  for  the  Gallery  at  Dijon,  “ The  Stoning  of 
St.  Stephen”  for  the  Gallery  at  Avranches,  “Monks  at  Prayer” 
for  the  Gallery  at  Alen^on,  a drawing  of  “ St.  Sebastian  ” for  the 
Gallery  at  Lille,  and  the  “Amende  Honorable”  (1868)  for  the 
Luxembourg.  The  works  of  this  artist  are  more  Irequently  ex- 
hibited in  England  than  in  France.  Many  of  them  go  directly  from 
his  studio  to  the  purchasers.  The  following  are  among  his  more 
important  pictures  : “ The  Pilgrimage,”  at  the  Liverpool  Gallery  ; 
“ The  Spanish  Cloister  ” and  the  “ Benediction  of  the  Sea,”  at  Mr. 
Eustace  Smith’s  ; “ The  Baptism,”  belonging  to  Sir  George  Howard. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  51 


“ The  Coppersmith,”  belonging  to  Mr.  lonides,  was  at  the  Salon  of 
1875,  together  with  the  “ Demoiselles  du  Mois  de  Marie,”  belonging 
to  M.  Mieville.  Legros  has  etched  a large  nnmber  of  plates,  and  his 
works  taken  altogether  are  very  numerous.  At  the  Grosvenor  Gallery 
Exhibition,  1877,  he  exhibited  “Four  Studies,  Portraits”  (executed  in 
two  hours  each)  before  the  pupils  of  the  artist  in  the  Slade  School, 
a Portrait  of  Thomas  Carlyle,  “ A Landscajre,”  “ The  Coppersmith,” 
“ The  Spanish  Cloister,”  and  “ The  Baptism.”  (The  last  three  are 
mentioned  above.)  In  1878  he  sent  to  the  Grosvenor  ten  studies  and 
finished  paintings. 

“ France  is  a country  of  very  strange  contrasts,  and  this  contrast  is  noticeable  amongst 
others,  tliat  whilst  many  French  people  spoil  themselves  by  the  utmost  extreme  of  affec- 
tation, many  other  French  people  are  just  as  remar'kahle  for  the  entire  absence  of  affec- 
tation : so  that  their  simplicity  is  more  simple  than  ours,  and  their  directness  more 
direct.  This  contrast  has  been  very  strikingly  manifested  in  the  French  art  of  the  last 
half-century.  Side  by  side,  in  the  public  exhibitions,  with  art  of  tlie  most  pretentious 
extravagance,  grew  up  another  school  of  art  which  discarded  pretension  altogether. 
Never  was  any  realism  so  remarkable  for  simplicity  of  purpose  as  that  of  the  genuine 
Frencli  rustic  school.  I do  not  mean  tlie  realism  of  the  revolutionary  realists,  who  called 
themselves  so,  but  of  that  school  whicli  was  entirely  emancipated  from  classical  author- 
ity, and  used  its  liberty  for  the  jilain  expression  of  its  sentiment,  not  for  the  illustra- 
tion of  a theory.  These  artists  were  neither  influenced  by  the  authority  of  the  classics 
nor  by  the  force  of  the  reaction  against  them  ; they  worked  in  a calm  corner  of  their 
own,  safe  from  the  flux  and  reflux  of  the  great  currents  of  their  time.  M.  Legros  is  one 
of  them  ; but  instead  of  going  among  the  oxen  and  the  laborers  in  the  fields,  he  prefers 
the  solemnity  of  tlie  village  church,  or  the  cathedral' aisle,  or  the  quiet  monastery  ; anil 
there  he  will  watch  his  models,  who  know  not  that  they  are  watched,  and  wlio  reveal  to 
him  the  secret  of  their  meditations."  — Hamurton,  in  The  Portfolio,  August,  1873. 

" Bold  and  strong  in  his  style,  sometimes  even  to  brutality,  he  is  a proof  that  the 
artist  never  ceases  to  be  true  ; his  first  attempts  testified  precisely  to  that  conscientious 

research,  to  that  obstinate  lalior  which  he  brings  to  the  interpretation  of  nature 

M.  Legros  has  never  flattered  either  the  taste  or  the  tendencies  of  his  time;  it  is  thus 
that  he  lias  remained  himself,  and  that  in  each  one  of  his  impressions  he  has  subordi- 
nated the  form  to  an  original  and  powerful  thought."  — Charles  Ouellette,  Gazette  des 
lieaux-Arts,  April,  1876, 

Leharivel-Durocher,  Victor  Edmond.  (Fr.)  Born  at  Chann, 
1816.  Chevalier  of  the  Legion  of  Honor.  Pupil  of  Belloc,  Ramey, 
and  A.  Dumont.  His  “To  Be  and  to  Seem  to  Be”  (1861)  is  at  the 
Luxembourg.  Among  his  works  are,  “ A Group  of  Angels,”  on  the 
tomb  of  Archbishop  Pierres  in  the  church  of  Saint-Sulpice  ; “ Saints 
Genevieve  and  Theodechilde,”  for  the  church  of  Sainte-Clothilde  at 
Paris  ; monument  to  the  three  brothers  Eudes,  for  the  city  of  Argen- 
tan  ; “ Glory,”  for  the  court  of  the  Louvre  ; a statue  of  Visconti  for 
his  tomb  ; “ St.  Mary  Magdalene,”  for  the  church  of  Saint-Augus- 
tin  at  Paris  ; “ Tragedy  ” and  “ Comedy  ” (bas-reliefs  in  stone),  for 
the  grand  staircase  of  the  Theatre  Fran^ais,  etc.  The  list  is  much  too 
long  to  be  given  here.  His  works  are  to  be  seen  in  many  cities,  and 
he  has  also  executed  numerous  portrait  busts  and  statues  as  well  as 
other  sculptures  for  private  bouses.  To  the  Salon  of  1878  he  con- 
tributed a marble  statue  of  “ St.  Theodechilde.” 


52  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Lehmann,  Charles  Ernest  Rodolphe  Henri,  (ffer.)  Bom  at 
Kiel,  1814  (now  a naturalized  citizen  of  France).  Member  of  the 
Institute.  Officer  of  the  Legion  of  Honor.  Professor  at  I’Ecole  des 
Beaux-Arts.  Member  of  the  Superior  Council  of  the  Fine  Arts. 
Pupil  of  his  father  and  of  Ingres.  His  subjects  are  religious  and  his- 
torical, and  he  has  taken  many  motives  from  modem  poets.  His 
reputation  as  a portrait-painter  is  great.  His  “ Grief  of  the  Oceanides 
at  the  Foot  of  the  Rock  to  which  Prometheus  was  chained”  (1850)  is 
at  the  Luxembourg.  Among  his  works  are,  “ An  Assumption  of  the 
Virgin  ” for  the  church  of  Saint-Louis  at  Paris,  decorative  works  at 
the  church  of  Saint-Merri,  at  the  chapel  of  the  Institute  for  the  Young 
Blind,  a chapel  at  the  church  of  Saint-Louis-en-PIle,  at  the  church 
of  Sainte-Clothilde,  at  the  palaces  of  the  Luxembourg  and  of  Jastice, 
etc.  His  portraits  are  numerous,  and  of  notable  men  and  women. 
We  may  also  mention  his  “Arrival  of  Sarah  at  the  Home  of  the  Young 
Tobias,”  “ The  Education  of  Tobias,”  “Jeremiah,”  “Venus,”  “L^n- 
dine,”  “ Hamlet,”  “ Ophelia,”  “ The  Dream  of  Love,”  etc. 

“ He  began  with  the  strongest  men  of  the  modern  French  school,  — with  Ingres, 
Delacroix,  Scheffer,  and  Delaroche,  — and  he  has  always  manifested  himself  at  the  level 
of  tlie  most  conscientious  art  and  the  best  criticism.  He  comes  directly'  from  Ingres 
by  hi.s  style,  and  with  Ingres  he  made  the  study  of  the  'brin  his  chief  care.  His  point  of 
departure  from  the  spirit  of  Ingres’  work  is  in  his  sentiment,  which  establishes  his  re- 
lation with  Scheffer.  He  is  not  a typical  artist,  but  for  that  very  reason  far  less  likely 
to  provoke  the  hostility  and  depreciation  which  always  accompany  the  development  of  a 
representative  and  pronounced  talent.  He  is  so  studied,  so  conscientious,  — he  is  such 
a fine  draughtsman,  and  so  finished  in  his  manner,  — that  he  has  never  been  exposed  to 
the  criticism  which  made  a noise  of  words,  words,  words,  about  the  great  name  of  Dela- 
croix, and  left  the  correct  and  interesting  Delaroche  undisturbed.  Lehmann  and  Dela- 
roche  were  fellow-students  under  Ingres  ; but  in  Lehman  and  Ingres  classicLsm  was 
grafted  on  German  mysticism,  and  it  is  this  union  of  the  positive  classic  with  the  poetic 
sentiment  of  the  North  which  makes  many  of  his  works  as  strange  as  they  are  lovely. 
Lehmann  often  gleaned  after  Delacroix  and  Scheffer.  He  followed  both  in  German  and 
English  poetry,  painting  a ‘Hamlet’  after  Delacroix,  and  painting  a ‘ ilignon  ’ after 
Scheffer.  His ‘Hamlet’  is  described  as  elegant  and  contempl.ative.  Greek  trage- 
dies and  mytlis  and  Jewish  and  Catholic  legends  have  afforded  subjects  to  this  most  ac- 
complished and  indefatigable  artist  His  portraits  are  celebrated,  aud  rival  those  by- 
Ingres  and  Flandrin.  His  portrait  of  the  Princess  Belgiojoaio  is  one  of  the  most  re- 
markable of  modern  portrait  studies,  and  has  been  characterized  as  a striking  and  studied 
work.  But  color  is  so  little  sought  for,  and  so  little  felt  by  the  painter,  that  the  effect  of 
the  head  is  described  as  unreal,  — as  a head  in  moonlight  or  as  a scene  in  dreams, — 
and  it  is  on  this  side  of  elegant  and  exquisite  fantasie  that  Henri  Lehmann  has  been  at 
once  the  most  charming  artist,  while  to  some  he  has  seemed  feeble  in  his  hold  upon 
nature.  His  portrait  of  Liszt  is  equally  celebrated  with  his  portrait  of  the  Princess 
Belgiojosio,  and  ranks  with  Flandrin 's  heads.  It  has  been  called  ‘ a very  rare  creation, 
and  surprisingly  beautiful,’  by  one  of  the  best  French  critics.  Of  late  years,  Lehmann's 
style,  formed  in  Rome  under  Ingres,  h.as  changed  somewhat  : it  has  lost  its  pallor  and 
strangeness,  — the  charm  of  his  work  to  some  of  his  admirers,  — and  has  become  suf- 
fused with  color.  Edmond  About  say-s  it  is  now  w,arm,  like  the  best  examples  of  L^ 
pold  Robert.  But  we  may  add  that  Robert  was  hardly  a colorist,  and  that  what  About 
calls  warmth  a Venetian  probably  would  call  rankly  hot"  — Eugeke  Bexsox,  AppUtons' 
Art  Journal,  February  26, 1870. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  53 


Lehmann,  Rudolf.  (Ger.-Brit.)  Born  near  Hamburg,  1819. 
Son  of  a miniature-painter,  from  whom  he  inherited  his  taste  for  art 
and  received  his  fii'st  instructions,  and  brother  of  the  preceding. 
Went  to  Paris  in  1834,  studying  for  two  years,  and  spending  a like 
period  in  Munich,  where,  for  a time,  he  was  a pupil  of  Kaulbach. 
In  1839  he  went  to  Rome,  in  which  city  he  has  passed  many  winters, 
sending  to  the  Paris  Salon  of  1841  a picture  for  which  he  received  a 
gold  medal.  He  turned  his  attention  to  the  painting  of  the  figures 
of  Italian  women  with  considerable  success,  and  won  the  praise  and 
friendship  of  Thorwaldsen,  Ary  Scheffer,  Delaroche,  and  other  famous 
artists.  He  went  to  England  for  the  first  time  in  1850,  making 
many  subsequent  visits  before  he  finally'  settled  there  in  1860. 
Among  his  early  works  are,  “ Sixtus  Quintus  blessing  the  Pontine 
Marshes”  (in  the  Paris  Salon  of  1847,  and  nowin  the  Museum  of 
Lille),  “ St.  Sebastian,”  “ St.  Cecilia,”  “ Haidee,”  “ Graziella  ” (for 
which  he  received  the  gold  medal  in  Paris  in  1854),  “ Early  Morning 
in  the  Pontine  Marshes  ” (R.  A.,  1860),  “Tasso  returning  to  Sorrento,” 
“Foundhng  Hospital,  Rome,”  and  “A  Roman  Serenade”  (belonging 
to  the  Prince  of  Wales).  Since  he  has  lived  in  England  he  has  sent 
to  the  Royal  Academy  “The  Fortune-Teller”  and  “The  Favor  of  an 
Answer  requested,”  in  1868;  “After  the  Fire,”  in  1869;  “Out  of 
the  World,”  in  1870;  “ May  we  come  in?”  (portraits  of  his  own 
family),  in  1871  ; “Confessions,”  in  1872;  “Ave  Maria,”  in  1874; 
“Alma  and  her  pet  Kittens”  and  “Robert  Browning,”  in  1875; 
“After  the  Sitting,”  in  1876  ; and  many  portraits. 

“ Mr.  Lehmann’s  works  now  take  a prominent  place,  as  they  deserve,  in  the  exhibi- 
tions of  the  Royal  Academy.  It  i.s  not  difficult  to  recognize  in  them  the  influence  of  his 
continental  training,  and  especially  of  his  long  residence  in  Rome.  His  figures  always 
show  the  feeling  they  are  intended  to  express,  while  his  coloring  is  rich  yet  chastened.” 
— Art  Journal,  June,  1874. 

Lehoux,  Pierre-Adrien-Pascal.  (Fr.)  Born  at  Paris.  Medals 
in  1873  and  ’74.  Prix  du  Salon,  1874.  Pupil  of  Cabanel.  At 
the  Salon  of  1877  he  exhibited  “St.  Stephen,  Martyr”;  in  1876, 
“ The  Constellation  of  the  Bouvier  ” ; in  1874,  “ St.  Lawrence,  Mar- 
tyr,” now  at  the  Luxembourg.  At  the  Salon  of  1878  he  exhibited 
“ Surprise  ” and  “ The  Wrestlers.” 

Leibl,  H.  W.  (Ger.)  Munich.  This  artist  is  prominent  in  Mu- 
nich, and  his  works  can  be  studied,  together  with  those  of  his  fellow- 
artists,  in  the  Pinakothek  of  that  city,  where  are  placed  the  works  of 
the  so-called  new  school  to  which  he  belongs.  To  the  Paris  Expo- 
sition of  1878  he  sent  “ Some  Peasants  ” and  a portrait. 

“ Leibl  reveals  in  painting  the  rongh-featnred,  roughly  clad  Bauerein,  or  peasants  of 
the  Bavarian  hamlets,  and  the  results  are  sometimes  quite  marvelous.  He  can  also 
give  yo\i,  if  he  chooses,  the  delicate  beauty  of  a lady’s  hand  with  a truth  to  nature  that 
throws  enthusiastic  young  artists  into  raptures.  But  he  does  not  often  so  choose,  and 
this  leads  us  reluctantly  to  say  that  the  essential  coarseness  of  his  character  prevents 
him  from  being  as  great  an  artist  as  his  abilities  might  otherwise  have  made  him.  The 


54  ARTISTS  OF  THE  NINETEENTH  CENTURY, 


greatest  artists  generally  combine  with  strength  a certain  refinement,  apparent  in  their 
works,  if  not  in  their  manners.  Beauty  in  the  ordinary  sense  of  the  term  has  no  attrac- 
tions for  LeibL  Even  amidst  the  homely  uncouthness  of  German  peasantry  handsome 
men  and  comely  maidens  are  to  be  found.  He  seems  to  go  out  of  his  way  to  give  us  the 
most  repulsive  specimens  of  both  sexes  that  he  can  find.”  — Benjamin’s  Contemporary 
Art  in  Europe., 

Leighton,  Frederick,  R.  A.  {Brit.)  Member  of  the  Academy  of 
Florence.  Corresponding  Member  of  the  Institute  of  France.  Born 
at  Scarboro’,  1830.  Studied  drawing  as  a lad  in  Rome.  Student 
of  the  Royal  Academy  of  Berlin  in  1845,  and  studied  later  in  Flor- 
ence, Brussels,  Paris,  Frankfort,  and  Rome.  He  first  exhibited,  in 
England,  “ Cirnabue’s  Madonna  carried  through  the  Streets  of  Flor- 
ence ” (R.  A.,  1855),  which  attracted  great  attention  in  London,  and 
was  purchased  by  the  Queen.  He  exhibited  his  “ Triumphs  of 
Music,”  in  1856  ; “ Sunrise,  Capri,”  in  1860  ; “ Star  of  Bethlehem,” 
in  1862  ; “ Girl  feeding  Peacocks,”  in  1863  ; “ Orpheus  and  Eury- 
dice,”  in  1864  ; “ David  ” and  “ The  Widow’s  Prayer,”  in  1865  ; “ The 
PaintePs  Honeymoon,”  in  1866  ; “ Venus  disrobing  for  the  Bath  ” 
and  the  “ Spanish  Dancing-Girl,”  in  1867  ; “ Jonathan’s  Token  to 
David,”  in  1868.  He  was  elected  Associate  of  the  Royal  Academy  in 
1865,  and  Academician  in  1869,  when  he  contributed  “ Electra  at  the 
Tomb  of  Agamemnon”  and  “ St.  Jerome”  (his  diploma  work).  In  1871 
he  exhibited  “Hercules  wrestling  with  Death”;  in  1872,  “After 
Vespers”;  in  1873,  “Weaving  the  Wreath”  and  “The  Industrial 
Arts  of  Peace”  ; in  1874,  “Old  Damascus”;  in  1875,  “Little  Fa- 
tima”; in  1876,  “The  Daphnephoria ” and  “Teresiua”;  in  1877, 
“ The  Music-Lesson,”  “ Study,”  and  “ An  Athlete  strangling  a Python  ” 
(in  bronze).  This  last  was  secured  by  the  Academy  authorities  for 
2,000  guineas,  under  the  Chantrey  Be(|uest,  and  was  pronounced  by 
the  London  Art  Journal  (August,  1877),  “ nobly  classic  in  feeling, 
yet  full  of  such  realistic  details  as  modern  anatomical  knowledge  de- 
mands.” Mr.  Leighton  has  recently  (November,  1878)  been  elected 
President  of  the  Royal  Academy.  He  has  been  knighted  by  the 
Queen. 

“ The  ‘ Dante  in  Exile  ’ [R.  A.,  1864]  is  a piece  of  refined  drawing  (with  some  little  man- 
nerism, perhaps,  intlie  proportions),  and  of  carefully  studied  attitude,  and  has  little  to 
fear  from  English  rivalry.  The  subject  was  a noble  one  to  attempt,  and  we  are  glad 
tliat  Mr.  Leighton  had  the  courage  to  undertake  it.”  — P.vlgrave's  Essays  on  Art. 

“ The  ‘Summer  Moon  ’ and  ‘ Interior  of  a Jew’s  House,’  by  Mr.  Leighton,  are  works 
well  deserving  of  special  commendation.  The  former  is  exquisitely  poetic  in  sentiment, 
rich  and  suggestive  in  tone,  and  admirable  in  grace  of  composition.  The  ‘ Interior  of  a 

Jew’s  House’  is  a complete  poem  from  the  ancient  world The  figures  are  painted 

with  rare  skill  and  gr.aoe,  the  drawing  is  .admirable,  .and  the  .archa:ologic.al  learning,  whieh 
seems  to  be  a matter  of  special  ])ride  in  art  to-day,  is  most  thorough.”  — Pbof.  Weir’s 
OJicial  Report  of  the  American  Centennial  Exhibition  o/lS76. 

‘‘  Mr.  Leighton’s  ‘ Music-Lesson  ’ [R.  A..,  1S7T]  i.s  the  most  striking  bit  of  art  work  in 
the  whole  Exhibition.  . . . What  makes  this  picture  valuable  in  our  eyes  is,  first,  the  per- 
fect oneness  of  the  conception,  the  unity  of  action  and  sentiment ; and,  second,  the 
preciousness  of  the  art  with  which  be  has  carried  out  the  idea.” — Art  Journal,  July, 
1877. 


ARTISTS  OF  THE  NINETEENTH  CENTURY,  55 


‘‘Frederick  Leighton  is  distinguishing  himself  in  the  treatment  of  classical  subjects 
as  well  as  ijortraiture.  Such  drawing  of  the  human  figure  divine  as  in  ‘ Daphneplioria  * 
is  rarely  excelled.”  — Benjamin’s  Contemporary  Art  in  Europe. 

“ Leiglitoii’s  young  naked  athlete,  with  his  limbs  separated  and  firmly  fixed  on  the 
ground,  struggles  with  a serpent  which  is  entwined  about  one  of  his  haunches.  With 
one  arm  behind  he  ijreserves  his  body  from  the  danger  of  the  formidable  clasp,  while 
with  the  other  in  front  of  him  he  throws  out  and  holds  at  a distance  the  terrible  head, 
grasping  the  neck  with  his  strong  hand.  The  general  outline  is  grand,  and  it  is  a beau- 
tiful classic  study,  such  as  one  sees  in  the  drawings  of  the  same  artist.”  — Anatole  de 
Montaiclon,  Gazette  des  Beaux-ArtSf  July,  1878. 

Lcitch,  W,  L.  (Brit.)  Born  in  Glasgow,  studying  there  under 
Knox.  He  has  been  for  many  years  a resident  of  London  and  mem- 
ber of  the  Institute  of  Painters  in  Water-Colors,  of  which  society  be 
was  elected  Vice-President,  succeeding  Louis  Haghe  in  1870.  He  was 
at  one  time  teacher  of  painting  to  Queen  Victoria,  and  has  furnished 
illustrations  for  many  well-known  books.  Among  his  water-color 
drawings  are,  “ Peat  Moor  near  Balmoral,”  “ On  the  Te\'iot,”  “ Even- 
ing,” “ Distant  View  of  Creffel,  Dumfrieshire,”  “ The  Valley  of  the 
Tweed  from  Berwick  Castle,”  “ Lago  Maggiore,”  “ Murano  near 
Venice,”  etc.  At  the  Loan  Exhibition  at  Glasgow  in  1878  were  his 
“ Bethlehem,”  “ Church  of  the  Holy  Sepulcher,”  “ Highland  Raid,” 
and  “ Windsor  Castle.” 

Le  Jeune,  Henry,  A.  R.  A.  (Brit.)  Born  in  London,  1820. 
Entered  the  schools  of  the  Royal  Academy  at  the  age  of  fourteen. 
In  1841  he  gained  the  gold  medal  for  historical  painting,  his  subject 
being  “ Samson  bursting  his  Bonds,”  exhibited  at  the  British  Insti- 
tute in  1842.  He  first  exhibited  at  the  Royal  Academy,  in  1840, 
“ Joseph  interpreting  the  Dream  of  Pharaoh’s  Butler.”  In  1845  he 
was  appointed  Master  of  the  School  of  Design  ; in  1848,  Curator  of 
the  Royal  Academy  School  of  Painting.  Among  his  early  works  are, 
“Ruth  and  Boaz,”  in  1845;  “Lear  and  Cordelia,”  in  1849  ; “The 
Sermon  on  the  Mount,”  in  1851  ; “ The  Vision  of  Queen  Catherine,” 
in  1857  ; “ The  Sisters  of  Lazarus,”  in  1861  ; and  in  1863  (when  he 
was  elected  Associate  of  the  Royal  Academy),  “ Early  Flowers.”  In 
1864  he  exhibited  “ The  Wounded  Robin”  ; in  1867,  “ The  Ride”  ; 
in  1869,  “Rather  Shy”  ; in  1872,  “Great  Expectations”  ; in  1874, 
“ Innocence  ” ; in  1875,  “ A Bite  ” and  “ My  Little  Model  ” ; in 
1876,  “Cinderella”  ; in  1877,  “Music”  ; in  1878,  “The  Low-Born 
Lass  ” and  “ Spring  Flowers.” 

“The  best-  performance  ever  exhibited  by  Henry  Le  Jeune  is  ‘Much  Ado  about 
Nothing’  [R.  A,,  1S73],  a fisliing-party  of  tliree  children  seated  catching  minnows  on  an 
old  river  sluice.  The  color,  the  groujiing,  the  execution,  and  the  surroundings  of  this 
small  company  entitle  it  to  rank  among  the  most  beautiful  pieces  of  art  of  its  kind 
that  have  ever  been  produced.”  — Art  Journal,  June,  1873. 

Le  Keux,  Henry.  (Brit.)  (1787-1869.)  Executed  a great 
number  of  plates  ; among  others,  “ Summer  Lake  ” (after  Turner), 
“ Venice”  (after  Prout),  “Embarkation  of  St.  Ursula”  (after  Claude), 
and  illustrations  for  Britton’s  “ Cathedrals,”  Rogers’  poems,  “ The 


56  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Beauties  of  England  and  AVales,”  etc.  He  retired  from  active  ■work 
in  his  profession  about  1840. 

Leland,  Henry.  {Am.)  Bom  at  Walpole,  Mass.  (1850-1877). 
Taken  as  a child  to  Boston.  He  showed  a talent  for  drawing  at 
an  early  age,  hut  received  no  instruction  in  art  in  America,  although 
as  an  amateur  he  painted  several  creditable  portraits.  He  was  en- 
gaged in  mercantile  pursuits  in  Boston  untd  1874,  when  he  resolved 
to  become  an  artist  by  profession,  and  went  to  Paris,  entering  the 
studio  of  Bonnat.  Here  his  progress  was  so  rapid  that  in  one  year 
j'rom  the  commencement  of  his  studies  he  sent  a portrait  to  the  Salon 
( 1875)  which  was  accepted.  In  the  summer  of  1875  he  visited  Boston, 
when  he  painted  portraits  of  his  father  and  mother,  which  were  sent 
to  the  Centennial  Exhibition  in  1876.  He  continued  iu  Bonnat’s  school 
of  drawing  after  his  return  to  Paris,  occupying  a studio  of  his  own  for 
painting,  and  devoting  himself  closely  to  his  profession.  To  the  Salon 
of  1876  he  sent  a full-length  portrait  of  Mile.  D’Alembert,  daughter 
of  Count  D’Alembert,  which  was  highly  praised  by  the  Paris  press. 
To  the  Salon  of  1877  he  sent  “ Italian  Girl  ” and  “Chevalier,  Time 
of  Henry  HI.”  One  of  his  latest  productions,  and  probably  his 
best  work,  “ Expectation,”  was  painted  for  a Boston  gentleman.  It 
r’epresented  an  interior,  furniture  of  white  and  gold  (time  of  Louis 
XV.),  with  a lady  in  white  satin  costume.  It  was  praised  by  BonUcUt, 
and  was  exhibited  in  the  Gallery  of  the  Society  of  American  Artists 
in  1878.  In  1877  Leland  went  to  Italy,  painting  “ A Courtyard  in 
Venice  ” while  in  that  city.  He  painted  his  own  portrait  and  a “ Court 
Lady  ” (time  of  Henry  III.),  which  was  left  unfinished  at  the  time  of 
his  death  ; while  at  work  upon  it,  December  5,  1877,  in  his  studio, 
he  met  with  an  accident,  dying  in  a few  moments.  Jlr.  Leland’s  works 
show  careful  and  conscientious  study,  accuracy  of  drawing,  fine  color- 
ing, and  the  strength  which  might  be  expected  from  a constant  student 
of  Bonnat  for  three  years.  Shortly  after  Mr.  Leland’s  death  the  Bo.^;- 
ton  Transcript  said  ; — 

“Mr.  Leland’s  picture  is  full  in  the  display  of  artistic  genius.  In  it  is  a lady  in  .a 
white  satin  dress  standing  near  the  center  of  a room  before  a piano.  She  is  in  the  act  of 
unbuttoning  a glove,  and  her  attention  has  been  attracted  towards  the  front  and  opposite 
part  of  the  room  from  which  she  stands,  so  that  a full  ■\iew  of  the  face  is  obtained  as  she 
turns  her  head  to  greet  the  expected  comer.  ....  All  the  shadows  are  softly  diffused 
into  the  various  parts  of  the  room,  and  are  in  perfect  keeping  with  the  strong  high  lights. 
The  face  is  frankly  painted  and  expressive,  the  pose  of  the  head  easy  and  natural.  The 
texture  of  the  dress  as  it  falls  in  graceful  folds  and  train  is,  as  it  should  be  in  order  to 
give  the  proper  effect,  exceedingly  well  dra^vn.  The  painting  is  in  its  eveiy  part  the 
most  faithful  in  its  appearance  of  truth  of  tone  and  execution  that  has  been  exhibited 
in  this  city  for  some  years.” 

Leleux,  Adolphe.  {Fr.)  Bom  at  Paris,  1812,  Chevalier  of  the 
Legion  of  Honor,  He  studied  his  art  absolutely  alone.  He  traveled 
in  France  and  Algiers,  and  met  with  remarkable  success  in  his  pictures 
of  manners  and  customs,  which  is  principally  due  to  his  exactness  of 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  57 


representation.  His  “ Wedding  in  Brittany  ” (1863)  is  at  the  Lux- 
embourg. At  the  Salon  of  1877  he  exhibited  “ A Salon  of  CreniUe  ” 
and  “ The  Family  of  a Maker  of  AVooden  Shoes  in  Lower  Brittany.” 
Among  his  pictures  are,  “A  Market-Day  at  Finistere,” Spring 
Flowers,”  “A  Funeral  in  Brittany,”  “Arab  Women  in  the  Desert,” 
“ Bedouins  attacked  by  Dogs,”  etc.  At  the  Salon  of  1878  he  exhibited 
“ AVasherwomen  in  Berry  ” and  “ The  Departure.” 

Leleux,  Armand.  (Fr.)  Born  at  Paris,  1820.  Chevalier  of  the  Le- 
gion of  Honor.  Brother  of  Adolphe  Leleux.  Pupil  of  Ingres,  whom  he 
accompanied  to  Rome,  where  he  remained  two  years.  A ffenre  painter. 
He  had  an  official  mission  to  Spain  in  1846,  and  has  also  traveled 
in  Germany  and  Switzerland.  The  “ Interior  of  the  Pharmacy  of  the 
Convent  of  the  Capuchins  at  Rome  ” (1863)  is  at  the  Luxembourg. 
Among  his  works  are,  “ A Village  Barber  in  Switzerland,”  “ The  Eve 
of  the  Fete  ” (Swiss),  “ The  Alpine  Hunter,”  “ Scenes  in  the  Black 
Forest,”  “ Gypsies,”  “ Interior  of  a Forge,”  etc.  At  the  Salon  of  1878 
he  exhibited  “The  Letter  of  Recommendation”  and  “A  Woman 
winding  Skeins.” 

Leloir,  Jean  Baptiste  Auguste.  (Fr.)  Born  at  Paris,  1809. 
Chevalier  of  the  Legion  of  Honor.  Pupil  of  Picot  and  I’Ecole  des 
Beaux- Arts.  His  decorative  works  are  at  the  churches  of  Saint-Ger- 
main-l’Auxerrois  and  Saint-Merri  at  Paris,  and  at  that  of  Saint-Leu 
Taverney  and  the  church  of  Saint- Jean  at  Belleville.  Among  his  pic- 
tures are,  “ The  Holy  Family  in  Egypt,”  “ A Martyr,”  “ Marriage  of  the 
Virgin,”  “ Daphnis  and  Chloe,”  “ Death  of  Homer,”  “ Marguerite  in 
Prison,”  “ Ruth  and  Naomi,”  “ Captive  Athenians  at  Syracuse,”  etc. 
To  the  Salon  of  1878  he  contributed  “ Horace  a Tibur.” 

Leloir,  Alexandre  Louis.  (Fr.)  Born  at  Paris.  Chevalier  of 
the  Legion  of  Honor.  Pupil  of  his  father.  At  the  Salon  of  1875  he 
exhibited  “ The  Grandfather’s  Fete”  ; in  1874,  “The  Slave.”  At  the 
Johnston  sale.  New  York,  1876,  his  “Temptation  of  St.  Anthony” 
(28  by  39)  sold  for  $2,100.  To  the  Salon  of  1878  he  contributed 
“ The  Betrothal.” 

Leloir,  Maurice.  (Fr.)  Born  at  Paris.  Pupil  of  his  father  and 
brother.  Medal  of  the  third  class,  in  1878,  when  he  exhibited  “The 
Last  Journey  of  Voltaire  to  Paris”;  in  1877,  “ Robinson  Crusoe  ” ; in 
1876,  “ The  Marionnettes.” 

Lemaire,  Philippe-HenrL  (Fr.)  Born  at  Valenciennes,  1798. 
Member  of  the  Institute.  Officer  of  the  Legion  of  Honor.  Pupil  of 
Cartellier.  He  gained  the  grand  de  Rome  in  1821.  He  made  his 
debut  at  the  Salon  of  1831.  His  “ Head  of  the  Virgin  ” (1846)  is  at 
the  Luxembourg.  His  chef-d’oeuvre  is  the  decoration  of  the  front 
of  the  Madeleine.  The  works  of  Lemaire  are  seen  in  many  public 
places.  In  1852  he  was  elected  to  the  Corps  Legislatif  in  the  De- 
partement  du  Nord. 

Lemaire,  Hector.  (Fr.)  Bom  at  Lille.  Pupil  of  A.  Dumont 

.3* 


58  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


and  Falguiere.  Medals  in  1877  and  ’78,  and  ■prix  du  Salon  in  1878, 
when  he  exhibited  a plaster  group  of  “ Samson  betrayed  by  Delilah  ” ; 
in  1877,  “ Maternal  Love  ” and  a “ Souvenir  ” (bust,  plaster)  ; in  1876, 
a plaster  group,  “ The  Bath.” 

Lematte,  Jacques-Francois-Fernand.  (Fr.)  Bom  at  Saint- 
Quentiii.  Medals  in  1870,  ’73,  and  ’76.  Pupil  of  Cabanel.  At  the 
Salon  of  1877  he  exhibited  a portrait  and  “ The  Widow  ” ; in  1876, 
“Orestes  and  the  Furies”  and  a portrait  ; in  1874,  “The  Rape  of 
Dejanira”  ; in  1878,  “A  Nymph  surprised  by  a Faun”  and  a portrait 
of  Mile.  S. 

Lenbach,  Franz.  (Ger.)  Bom  at  Schrohenhausen,  a Bavarian 
village,  and  the  son  of  a carpenter,  whom  he  assisted  in  his  work  ; alt 
the  time  developing  his  taste  for  drawing  by  making  .sketches  of  the 
men  and  animals  which  he  saw  about  him.  At  length  he  obtained 
permission  from  his  father  to  go  to  Munich.  His  allowance  was  fif- 
teen cents  a day  1 He  presented  himself  to  Piloty,  who  arranged  for 
him  to  enter  the  Academy.  When  his  course  was  finished  he  re- 
turned to  his  home,  and  painted,  “ with  a sort  of  intoxication,”  the 
peasants  as  in  his  childhood.  His  “ Sleeping  Shepherd  ” of  the  gallery 
of  the  Baron  Schack  was  painted  at  this  time.  Piloty  soon  sent  the 
young  painter  to  Rome  at  his  own  expense.  After  his  return  he  wa.s 
made  a Professor  at  Weimar,  where  he  was  associated  with  Reinhold 
Begas  and  Bocklin.  They  all  soon  resigned  their  offices,  and  Lenbach 
returned  to  Munich.  He  went  again  to  Italy  and  to  Spain,  and  made 
many  fine  copies  after  Titian,  Velasquez,  and  Murillo.  At  Paris,  in 
1867,  he  received  a medal  of  the  third  class.  He  is  to-day  very  cele- 
brated, and  has  become  the  painter  of  princes  and  emperors.  His  pic- 
ture of  the  Emperor  of  Austria  was  at  the  Vienna  Exposition  of  1873. 
At  the  Paris  Exposition  of  1878  several  of  his  portraits  were  seen. 

" M.  Lenbach  expresses  in  a high  degree  tlie  striking  fe,itures  of  a face,  the  vivacity, 
the  hnmid  deptli  of  the  eyes,  tlic  accent  of  the  mouth  or  tlie  ear.  tlie  character ; and 
allows  liimself  to  freely  rest  on  such  or  such  a trait  which  pleases  him.  His  execution 
is  singular,  — he  is  not  careful  to  turn  a drawing  correctly,  and  leaves  transparencies  in 

his  shadows But  he  has  a full  and  profound  impression  of  the  man,  and  of  the 

dominating  traits  of  his  face  and  his  whole  manner.  His  portraits  of  women  have  much 
grace,  and  a charm  of  sentiment : although  one  must  seek  these  qualities  beneath  a 
melange  of  remembrances  of  Rubens  and  Jordaens,  and  under  a light  which  is  a little 
pale.  But  leaving  aside  sentiment,  and  his  manner  of  representing  what  he  sees,  he  is 

an  artist An  onion-peel,  says  one  ; a great  varnished  aquarelle  in  the  manner  of 

Piloty,  says  another  ; painting  buttered,  ganiished  with  pareley,  d la  mailrc-d’dotel,  shall 
I add  ! All  that  you  wish.  Tlie  artist  who  calls  himself  Lenbach  is  a personality,  a man 
of  the  first  r.ank.”  — Duranty,  Gazette  des  Bea-ux-Arta,  July,  1S7S. 

Lenepveu,  Jules-Eugene.  (Fr.)  Born  at  Augers,  1819.  Mem- 
ber of  the  Institute  and  Officer  of  the  Legion  of  Honor.  Director  of 
the  Academy  of  France  at  Rome  in  1873.  Pupil  of  Picot.  “ The 
Martyrs  in  the  Catacombs,”  Salon  of  1855,  is  at  the  Luxembourg.  He 
decorated  the  chapel  of  Saint  Anne  in  the  church  of  Saint-Sulpice, 
Paris.  This  was  completed  in  1864.  He  has  also  executed  decora- 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  59 


tive  works  in  his  native  city.  His  easel-pictures  are  historical  and 
religious  subjects,  and  portraits.  Among  them  are  a “ Venetian  Wed- 
ding,” “ Pius  IX.  at  the  Sistine  Chapel,”  “ Moses  succoring  the 
Daughters  of  Midian,”  etc. 

Lepic,  Ludovic-Napoldon.  (Fr.)  Born  at  Paris.  Medal  in  1877. 
Pupil  of  Cabanel  and  Wappers.  His  pictures  at  the  Salon  of  1877 
were,  “The  Broken  Boat”  and  “The  Tempest”;  in  1876,  “The 
Inundation  of  the  Quay  Bercy,  March  16,  1876  ” and  “ A Calm  in 
the  Bay  of  Somme  ” ; also,  three  etchings  of  “ Scenes  on  the  Banks 
of  the  Scheldt”  ; in  1875,  “ Peche  de  nuit  an  chien  de  mer”  and  a 
“ Boat  of  Boulogne  ” ; in  1874,  “ Springtime  ” and  “ The  Deluge  ” 
(a  triptych)  ; in  1878,  “The  Departure,  — High  Tide”  and  “The  Re- 
turn, — Low  Tide.” 

Lequesne,  Eugfene-Louis.  (Fr.)  Born  at  Paris,  1815.  Chevalier 
of  the  Legion  of  Honor.  Medal  at  London.  Pupil  of  Pradier,  who 
before  his  death  confided  to  him  the  completion  of  the  “ Victories  ” 
of  the  Tomb  of  Napoleon  at  the  Iiivalides.  His  portrait  statues  and 
busts  are  numerous.  He  has  executed  decorations  at  the  Louvre, 
and  the  new  church  of  Saint- Augustin  at  Paris.  His  monumental 
Fountain  in  the  grand  Place  of  Nevers  and  a “Winged  Griffon”  at 
the  Museum  of  Amiens  are  among  his  important  works.  At  the 
Salon  of  1876  he  exhibited  “Gaulois  au  poteau,”  plaster  statue  ; in 
1874,  “ That  of  which  the  Young  Girls  dream,”  plaster  statue  ; etc. 

Le  Roux,  Charles-Marie-Guillaume.  (F?-.)  Born  at  Nantes, 
1814.  Officer  of  the  Legion  of  Honor.  Pupil  of  Corot.  At  the  Salon 
of  1877  he  exhibited  “A  Farm  in  Vendfe”  and  “ The  Banks  of  the 
Loire  and  the  Basin  of  the  Basse-Indre  at  Low  Tide  ” ; in  1876, 
“High  Tide  at  Prefailles  ” and  a “ View  at  the  Soulliers”;  in  1875,  “ A 
Marsh,  — Sunrise,”  “ The  Bourg  of  Batz  and  the  Croisic,  — Storm,”  and 
“ The  Approach  of  a Squall  on  the  Coasts  of  Brittany  ” ; in  1878, 
“ The  Vista  of  the  Chestnut- Trees  at  the  Soulliers  ” and  “ At  the 
Soulliers,  — Morning.” 

Le  Roux,  Hector.  (Fr.)  Born  at  Verdun.  Medals  in  1863, ’64, 
and  ’74.  Pupil  of  Picot.  At  the  Salon  of  1877  he  exhibited  “ The 
Danaides”  and  “The  Vestal  Claudia  Quinta”  ; in  1876,  “The  Obse- 
quies of  Themistocles  ” and  “The  Trial  of  a Vestal”  ; in  1874,  “The 
Vestal  Tuccia.”  At  the  Johnston  sale.  New  York,  1876,  the  “Fu- 
neral in  the  Columbarium”  (54  by  39)  sold  for  $725.  At  the  Cor- 
coran Gallery  is  the  “Vestal  Tuccia,”  which  gained  a second  medal  at 
Paris  in  1874.  His  “Funeral  in  the  Columbarium  of  the  House  of 
the  Caesars”  (1864)  is  at  the  Luxembourg.  At  the  Salon  of  1878 
was  his  “ Pallas  Minerva  on  the  Acropolis  of  Athens  ” and  “ The 
Little  Orphans.” 

“ Hector  Le  Roux,  whose  studio  is  at  12  Rue  de  Navarin,  one  of  the  principal  artists 
in  Paris,  used  to  live  at  Rome.  There,  in  his  delightful  retirement  on  the  Via  Quattro 
Fontane,  in  a charming  apartment  now  occujiied  by  Charles  Caryll  Coleman,  the  studio 


60  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


of  which  opened  on  a beautiful  garden  full  of  orange  and  lemon  trees,  thick  with  vines. 
Le  Roux  painted  some  of  his  most  important  and  beautiful  pictures.  — tlie  ‘ Tuccia,’ 
which  is  in  the  Corcoran  Gallery  at  Washington;  ‘The  Vestal  Fire  relighted  by  a 
Miracle,’  in  Mrs.  Herriman’s  gallery  at  Rome  ; the  important  and  remarkable  ‘ Danai- 
des,’  which  was  in  the  last  Salon  ; etc.  Beside  these  and  other  valuable  art  works,  the 
names  of  which  I cannot  recall,  he  also  made,  during  his  long  residence  in  Rome,  a num- 
ber of  studies,  most  poetical  and  happy  subjects  for  future  pictures Le  Roux 

has  been  medaled  again  and  again,  and  decorated  for  his  beautiful  works.  His  paint- 
ings, many  of  them,  have  been  taken  by  the  government,  and  are  in  the  various  museums 
of  France  : one  is  at  the  Luxembourg,  the  beautiful  ‘ Funeral  at  the  Columbarium  of 
the  House  of  the  Ctesars,  Porta  Capena,  at  Rome  ’ : it  was  one  of  the  leading  pictures  hi 
the  Salon  of  1864.  His  ‘ Messalina  in  the  Suburra,’  a terrible  but  wonderfully  strong 
picture,  gained  one  of  his  medals  some  years  ago  ; it  is  to  be  at  the  Universal  Exposition 
next  spring  ; when  Meissonier,  who  is  on  the  jury,  saw  its  name  in  the  list  Le  Roux  sent 
in,  he  remembered  it  and  expressed  much  satisfaction.  Le  Roux  sent  to  the  jury  a list 
of  six  names  of  pictures  for  the  corning  Exposition,  — all  were  admitted,  — 1.  ‘An  An- 
cient Serenade  ’ ; 2.  ‘ Summer  Triclinium’ ; 3.  ‘Fire  of  Vesta  relighted  by  a Miracle’; 
4.  ‘Messalina  in  the  Suburra’;  5.  ‘Toilette  of  Minerva  Poliade’;  6.  ‘The  Danaides.’ 
He  is  preparing  for  the  spring  Salon  two  new  pictures,  — one  is  of  two  young  Roman 
girls  of  ancient  times  visiting  the  tomb  of  their  parents  ; the  other  is  more  important 
in  subject,  and  very  interesting  and  poetical  in  detaiL  It  is  ‘ The  Miracle  recorded  by 
Pausanias  of  the  Descent  of  the  Statue  of  Minerva  Poliade  from  Heaven.’  ....  It  is 
represented  most  poetically.  It  is  before  the  great  city  of  Athens  and  its  sjilendid  temples 
existed.  The  young  Greek  virgins  are  assembled  together  at  sunset  on  the  summit  of 
the  hiU  : beyond  is  the  sea  and  the  Troad,  a lovely  bit  of  landscape,  with  soft  sky  ; a 
grove  of  olive-trees  rises  on  the  second  plane  ; the  tender  atmosphere  of  a Greek  sunset 
pervades  the  picture.  On  the  front  plane  to  the  left  is  the  dark  statue  of  the  goddess 
which  has  descended  from  heaven  : the  finnly  planted,  archaic  feet  are  just  touching  the 
great  stone  summit  on  which  her  famous  temple  was  afterwaiils  erected.  This  archaic 
figure  is  most  impressive.  The  girls  are  in  various  attitudes,  expressive  of  their  emo- 
tions. You  see  that  it  is  a solemn  and  awful  moment;  to  them  is  being  revealed  a 
sacred  mystery  that  they  are  to  reveal  to  humanity.  One  girl  has  thrown  herself  face 
downwards  on  the  rocky  base  below  the  statue  ; others  are  veiling  their  faces  in  awe  ; 
one,  a noble,  dignified  young  viigin,  stands  in  front  of  the  olive  grove,  full  of  courage 
and  reverence ; she  announces  and  proclaims  the  marvelous  miracle ; this  one  is,  of 
course,  the  future  first  high-priestess,  and  the  surrounding  girls  are  her  sisterhood  or 
band  of  vestal  virgins.  This  picture  is  painted  in  a moderate  size,  well  fitted  for  a 
.salon  or  parlor.  I trust  some  American  patron  of  the  arts  may  secure  it  at  the  Salon 
of  next  spring.”  — Paris  Letter  of  Miss  Axke  Brewster,  October,  1ST7. 

Le  Roux,  Eugene.  {Fr.')  Bom  at  Paris.  Medals,  1864,  ’73,  and 
’75.  Pupil  of  Picot.  At  the  Salon  of  1876  he  exhibited  “ The  Letter 
of  Eecoiumendation  ” ; in  1875,  “ An  Ambulance  during  the  Siege  of 
Paris”;  in  1874,  “ An  Old  Amateur.”  His  “New-Born, — Interior 
of  Lower  Brittany  ” (1864)  is  at  the  Luxembourg. 

Leslie,  Charles  Robert,  R.  A.  {Brit.-Am.)  Born  in  England 
(1794-  1859).  Taken  to  America  in  1799,  he  received  an  ordinary 
school  education  in  Philadelphia,  and  was  apprenticed  to  a Iwokseller 
in  New  York.  In  1811  he  returned  to  England,  and  entered  the 
schools  of  the  Royal  Academy,  studying  also  under  West  and  Wash- 
ington Allston.  He  painted  during  his  early  career  in  London,  “ Saul 
and  the  Witch  of  Endor,”  “ Anne  Page  and  Slender,”  “ May- Day  in  the 
Reign  of  Ehzabeth,”  and  “ Sir  Roger  de  Coverley.”  He  was  elected 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  61 


an  Associate  of  the  Royal  Academy  in  1821,  and  Academician  in  1825. 
In  1831  he  accepted  the  appointment  of  Professor  of  Drawing  at  the 
Military  Academy  at  West  Point,  but  relinquished  it  the  following 
year,  and  returned  to  England.  In  1848  he  was  made  Professor  of 
Painting  at  the  Royal  Academy,  holding  the  ofhoe  until  1851.  His 
lectures  were  subsequently  published.  Many  of  Leslie’s  works  are  in 
the  Sheepshanks  Collection.  His  “ Uncle  Toby  and  Widow  Wadman  ” 
(R.  A.,  1831)  and  “ Sancho  Panza  in  the  Apartment  of  the  Duchess  ” 
(R.  A.,  1844)  are  in  the  Vernon  Collection  of  the  National  Gallery, 
London.  HLs  “ Columbus  and  the  Egg,”  “ Gulliver  introduced  to  the 
Queen  of  Brobdignag,”  “ Library  at  Holland  House,”  “ Queen  Vic- 
toria receiving  the  Sacrament  at  her  Coronation,”  “ Jennie  Deans  and 
Queen  Caroline,”  “ Christ  and  the  Disciples  at  Capernaum,”  are  well 
known  by  the  medium  of  engraving.  His  “ Cooke  as  Richard  III.,” 
“ Murder  of  Rutland  by  Clifford,”  and  others  are  in  the  Philadelphia 
Academy  of  Fine  Arts.  James  Lenox  owns  his  portrait  of  Washing- 
ton Irving. 

“The  more  I learn  of  art,  the  more  respect  I feel  for  Mr.  Leslie’s  painting  as  such  and  for 
the  way  in  which  it  brings  out  the  expressional  result  he  requires.  Given  a certain  quan- 
tity of  oil  color  to  he  laid  with  one  touch  of  pencil,  so  as  to  produce  at  once  the  subtlest 
and  largest  expressional  result  possible,  and  there  is  no  man  now  living  who  seems  to  me 
to  come  at  all  near  Mr.  Leslie,  his  work  being  in  places  equal  to  Hogarth  for  decision,  and 
here  and  there  a little  lighter  and  more  graceful.'*  — John  Ruskin. 

“ From  this  time  [1833]  Leslie  produced  a succession  of  masterly  works,  — masterly  in 
every  respect,  perhaps,  except  their  coloring,  in  which  a dull  red  or  burnt  sienna  tint  is  too 
prevalent.  This  is,  however,  not  the  case  with  the*  Sancho  Panza  ’ and  other  early  works. 
He  is  seen  to  great  advantage  in  the  Sheepshanks  Collection.'’  — Wornum’s  Epochs  of 
Painting. 

“Leslie’s  first  successful  attempt  was  a likeness  of  Cooke  the  tragedian,  taken  at  the 
theater.  He  soon  copied  admirably,  and  became,  like  most  of  his  fraternity,  early  occu- 
pied with  portraits.  After  teaching  drawing  for  a short  time,  he  resigned  the  appoint- 
ment, returned  to  England,  and  enjoyed  the  liberal  encouragement  which  no  other  coun- 
try is  so  well  adapted  to  yield  the  kind  of  genius  by  which  he  is  distinguished.  Sho 
claims  him  as  her  own,  but,  although  born  there,  his  parents  were  American,  and  his 
first  lessons  in  art  were  received  on  this  side  the  water.  ” — Tuckerman’s  Book  of  the  Artists. 

Leslie,  George  D.,  R.  A.  (Brit.)  Born  in  1835.  Son  of  Charles 
R.  Le.slie  of  the  Royal  Academy,  whose  pupil  he  was.  George  D. 
Leslie  entered  the  schools  of  the  Royal  Academy  in  1854,  and  sent 
his  first  picture,  “ Hope  ” (now  the  property  of  Lord  Houghton),  to 
the  British  Institution  in  1857.  In  1859  he  sent  to  the  Royal  Acad- 
emy, “ Reminiscences  of  the  Ball,”  “ Matilda”  (from  Dante)  ; in  1865, 
“The  Defence  of  Lothian  House”;  in  1867,  “The  Cousins”;  in 
1868  (when  he  was  made  Associate  of  the  Royal  Academy),  he  ex- 
hibited “ Home  News,”  “ The  Empty  Sleeve,”  and  “ The  Boat- 
House”  ; in  1870,  “ Fortunes”  ; in  1872,  “ Laviiiia  ” and  “ An  Elope- 
ment”; in  1874,  “The  Nut-Brown  Maid”  ; in  1876,  “Roses”  and 
“Violets”;  in  1877  (when  he  became  Academician),  he  contributed 
“ Cowslips  ” and  “ The  Lass  of  Richmond  Hill,”  his  diploma  work  ; 
in  1878,  “ Home,  Sweet  Home.”  His  “ Celia’s  Arbor  ” was  at  Phila- 


G2  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


delphia  in  1876  ; “Fortunes,”  “School  Revisited,”  “Pot-pourri,” 
“Lavinia,”  and  “ Celia’s  Arbor”  were  in  Paris  in  1878. 

“ It  must  be  a great  deliglit  to  Mr.  Leslie  to  see  bis  son  George  D.  Leslie  do  such  good 
■work  as  this  ‘ Reminiscence  of  tlie  Ball.’  There  is  not  a prettier  piece  of  painting  on 

tlie  walls,  and  very  few  half  so  pretty I shall  look  anxiously  for  Leslie’s  work 

next  year,  for  lie  seems  to  have  truly  the  power  of  composition,  and  that  is  the  gift  of 
gifts,  if  it  be  rightly  used.  He  colors  very  well  already.  --  Ruskik’s  Xotes  on  tlie  Pictures 
of  the  Year,  1S75. 

“ George  D.  Leslie  lias  painted  nothing  so  complicated  in  combination  of  figures  and 
landscape  as  in  this  picture  [‘  Fortune,’  R.  A.,  1S70].  It  illustrates  both  his  merits  and 
defects  in  a conspicuous  way.  The  purity  and  beauty  of  tiie  faces,  the  taste  of  the 
dresses,  the  grace  of  the  figures,  and  the  felicity  of  the  grouping,  with  the  amenity  of  the 
landscape,  give  a charm  to  it  which  was  widely  and  directly  felt"  — Tom  Taylor  in 
English  Painters  of  the  Present  Day,  1876. 

" It  would  be  difficult,  as  a rule,  to  find  on  the  walls  of  any  gallery  figures  more  unaf- 
fectedly refined  and  more  winning  in  their  attractiveness  than  those  George  D.  Leslie 

places  on  his  canvases The  painter  understands  thoroughly  the  sources  of  a delicate 

beauty  proper  to  a refined  type  of  English  girlhood  ; and  he  has  the  power,  genuinely 
artistic  of  its  kind,  to  bring  all  of  the  materials  of  the  composition  in  accord  with  the 
dainty  spirit  that  inspires  it ; for  even  the  landscape  portions  of  his  pictures  seem  as  if 
painted  under  the  influence  of  the  same  graceful  feeling  and  purity  of  taste,  so  as  to 
jiresent  a perfect  harmony  between  the  outside  world,  and  those  who  for  the  time  at 
least  occupy  the  scene.’’  — Art  Jottrnal,  June,  1877. 

Leslie,  Robert  C.  {Brit.)  Son  of  Charles  R.  Leslie,  and  younger 
brother  of  George  D.  Leslie,  inheriting  much  of  the  artistic  talent  of 
his  family.  He  devotes  himself  particularly  to  marine  views,  and  has 
had  a studio  for  some  years  at  Southampton,  exhibiting  frequently  at 
the  Royal  Academy,  at  the  Dudley  Gallery,  and  elsewhere.  Among 
his  later  pictures  may  be  noted,  “Beachey  Head,”  “ Daybreak  on  the 
Atlantic,”  “ A Calm  off  the  Foreland,”  “ A Gale,”  “ A Last  Shot  at 
the  Spanish  Armada  in  the  North  Sea,”  etc. 

“ All  that  Robert  Leslie  has  executed  of  this  kind  [sailor  life,  shipping,  and  the  sea] 
has  shown  a genuine  love  and  pure  feeling  for  Nature,  a thorough  mastery  of  the  tech- 
nical elements  of  his  subjects,  and  a consistency  in  all  parts  of  his  pictures  such  as  in 
this  particular  walk  of  art  only  exact  knowledge  can  secure.  These  qualities  give  a dis- 
tinctive value  and  interest  to  Robert  Leslie’s  pictures,  which  as  yet  [1870]  have  hardly 
the  recognition  their  merits  entitle  them  to.”  — Tom  Taylor,  in  English  Painters  of  the 
Present  Day,  1870. 

“ ‘ Daybreak  on  the  Atlantic’  [R.  A.,  1877]  is  a fine  and  solid  example  of  true  and 
learned  modeling  of  waves,  expressing  the  movement  of  a ship  with  rare  felicity,  note- 
worthy for  just  treatment  of  the  atmosphere  and  broad  sober  color.” — London  Athe~ 
nanim.  May,  1877. 

Lessing,  Charles  Frederic.  (Ger.)  Born  at  Wartenberg,  Silesia, 
1808.  Member  of  the  Academy  of  Berlin.  Knight  of  the  Order  of 
Merit.  Medal  of  first  class  at  Paris.  Pupil  of  the  Academy  of  Ber- 
lin under  Diihling  and  Rosel.  The  father  of  this  artist  always  ob- 
jected to  his  being  a painter,  but  when  at  seventeen  years  of  age  he 
gained  the  prize  of  the  Academy  by  his  picture  of  “ The  Cemetery  in 
Ruins,”  he  met  with  no  more  opposition  ; and  under  the  influence  of 
Schadow,  who  had  become  interested  in  him,  he  rapidly  advanced. 
He  read  the  history  of  Bohemia,  and  painted  “ The  Sermon  of  the 


ARTISTS  OF  TUE  NINETEENTH  CENTURY.  63 


Ilussites,”  which  gained  him  honors  in  Paris  and  criticisms  at  home, 
where  the  story  of  Huss  excited  violent  passions.  But  the  artist  only 
replied  by  still  other  pictures,  such  as  “ Huss  before  the  Council  of 
Constance,”  “Huss  going  to  the  Funeral-Pile”  (in  New  York),  “A 
Hussite  Preaching  ” (in  the  National  Gallery,  Berlin),  and  others  of  a 
similar  character.  Among  his  historical  subjects  are,  “Luther  burn- 
ing the  Bull  of  the  Pope,”  “ Discussion  of  Luther  and  Eck  at  Leip- 
sic,”  “ Pope  Pascal  II.  Pi’isoner  of  Henry  V.,”  etc.  Of  landscapes  we 
may  mention,  “ The  Cloister  in  the  Snow,”  “ View  taken  in  the 
Eifel,”  “ A Wood-Chapel,”  “ Ritterburg,”  the  famous  “ Oaks  of  a 
Thousand  Years”  (engraved  by  Steifensand),  and  many  picturesque 
views,  ruins,  convents,  Gothic  chateaux,  and  wild  forest  scenes.  The 
Berlin  National  Gallery  has  a large  number  of  his  works.  The 
“ Luther  and  Eck  ” is  in  the  gallery  at  Carlsruhe,  and  cost  £ 2,333. 
To  the  Paris  Exposition  of  1878  he  contributed  “ A Landscape  ” (be- 
longing to  the  Gallery  of  Berlin). 

**  A painter  vigorous,  truth-seeking,  and  naturalistic  as  Lessing,  might  reasonably  be 
supposed  to  tind  delight  in  Nature’s  ways.  Lessing,  indeed,  has  been  deemed  by  some 

persons  greater  as  the  painter  of  landscape  than  of  history All  the  landscapes  I 

have  seen  by  Lessing  have  been  accentuated  with  predetermined  purpose.  The  fixed 
and  the  forcible  intent  manifest  in  the  artist’s  historic  compositions  speaks  out  scarcely 
less  decisively  and  intelligibly  in  his  portraiture  of  inanimate  nature,  which  thus  be- 
comes, as  it  were,  vocal  under  his  touch Lessing,  it  will  be  seen,  is  a keen  ob- 

server of  character,  an  accurate  student  of  physiognomy.  He  delineates  human  nature 
with  a breadth  which  pertains  to  the  species,  and  in  a detail  that  distinguishes  the  indi- 
vidual  And  this  it  is  that  gives  to  the  works  of  Lessing  their  pre-eminent  real- 

ity ; this  it  is  that  endows  them  with  strong  power  of  appeal,  and  brings  them  in  close 
correspondence  with  the  pronounced  and  positive  spirit  of  the  age.  Lessing’s  pictures 
are  no  unsubstantial  visions,  no  feverish  dreams,  or  ecstatic  swoonings  ; they  are  real  as 
life,  true  as  nature,  and  manly  as  the  grand  historic  charactei’s  they  seek  to  honor.”  — 
J.  Beavington  Atkinson,  Art  Journal,  September,  1865. 

Leu,  August  Wilhelm.  {Ger.)  Born  in  Munster,  1818.  Royal 
Professor  and  member  of  the  Academy  of  Berlin.  Member  of  the 
Academies  of  Vienna,  Amsterdam,  and  Brussels.  Medals  at  Berlin. 
Studied  at  the  Diisseldoif  Academy  under  Schirmer.  Traveled  in 
Norway,  Switzerland,  Bavaria,  and  Italy.  At  the  National  Gallery 
of  Berlin  is  his  “ View  of  a Swiss  Lake.”  At  Vienna,  in  1871,  he  ex- 
hibited “ Am  Grundelsee  ” ; and  at  Berlin,  in  1876,  “ Rocca  Bruna, 
near  Nice,”  “ A View  of  Capri,”  and  a “ View  near  Kandersteg.”  To 
the  Paris  Exposition  of  1878  he  sent  “ Lake  Oe.schinen  in  the  Canton 
of  Berne  ” (belonging  to  the  National  Gallery  of  Berlin). 

Leutze,  Emmanuel,  N.  A.  (Ger.-Am.)  Born  in  Wiirtemberg, 
Bavaria  (1816  - 1868).  Taken  as  a child  by  his  parents  to  Philadel- 
phia, he  early  displayed  artistic  talents.  By  the  sale  of  numerous 
drawings  he  realized  enough  to  carry  him  to  Europe  in  1841,  when  he 
went  to  Diisseldorf,  entered  the  Academy  there,  and  painted  his 
“ Columbus  before  the  Council  of  Salamanca  ” (which  was  purchased 
by  the  Diisseldorf  Art  Union).  He  also  painted,  during  his  stay  in 


64  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Germany,  “ News  from  Lexington,”  “ Mrs.  Schuyler  firing  the  Wheat- 
Fields,”  and  similar  works  of  an  ideal  or  historical  character.  He  also 
studied  in  Italy,  and  returned  to  America  in  1859,  after  which  time  he 
made  frequent  visits  to  the  art  centers  of  Europe.  He  was  made  a 
member  of  the  National  Academy  in  1860.  He  painted  many  pic- 
tures taken  from  French,  German,  Spanish,  as  well  as  American  his- 
torical subjects.  Among  the  better  known  of  these  are,  “ Columbus 
in  Chains  ’’  (exhibited  in  Brussels,  for  which  he  received  from  the 
King  of  the  Belgians  a silver  medal),  “ Cromwell  and  his  Daughter,” 
“John  Knox  and  Mary  Stuart,”  and  “ Western  Emigration”  (which 
is  in  the  Capitol  at  Washington).  His  “ Elaine  ” was  in  the  Na- 
tional Academy  in  1867.  After  his  death,  in  1868,  were  exhibited 
there  the  “ Mother’s  Visit  ” (belonging  to  H.  G.  Marquand),  the 
“ Storming  of  Teocalli,  Mexico,”  “Settlement  of  Maryland  by  Lord  Bal- 
timore,” the  “Iconoclast  ” (belonging  to  E.  M.  Olyphant),  and  portraits 
of  General  Grant,  W.  Whittredge,  Louis  Lang,  and  himself  (the  last 
presented  to  the  Academy  by  John  Taylor  Johnston).  His  “ Mary 
Stuart  hearing  the  First  Mass  at  Holyrood  after  her  Return  from 
France”  (belonging  to  John  A.  Riston)  was  at  the  Paris  Exposition 
of  1867.  “Henry  VIII.  and  Anne  Boleyn”  belongs  to  W.  T.  Wal- 
ters of  Baltimore,  and  his  “ Christmas  Mummeries  ” to  iirs.  Abner 
Mellen. 

“Emanuel  Leutze  is  the  representative  painter  of  the  American  branch  of  the  Dussel- 
dorf  school,  and  stands  the  highest  in  popular  esteem.  He  manifests  some  originality 
of  thought,  much  vigor,  overmuch  dramatic  force,  and  has  abundance  of  executive  skill, 
but  is  spasmodic  and  unequal.  Tours  de  force  delight  him.  He  has  the  vicious  coloring 
of  the  Dusseldorf  school  in  its  fullest  extent  The  rotunda  painting  in  the  Capitol  of 
the  ‘ Star  of  Empire  ’ is  his  most  ambitious  work.  This,  the  well-known  ‘ Washington 
crossing  the  Delaware,'  the  ‘ Storming  of  Teocalli,  Mexico,’  and  the  portrait  of  General 
Burnside,  are  striking  examples  of  his  epic  style.”  — Jarves,  Art  Idea. 

“ His  admirers  are  fond  of  him,  and  his  enemies  very  severe.  The  character  of  Leutze 
was  worked  out  in  his  pictures  with  wonderful  exactness.  He  was  a hero-worshiper  ; 
he  was  fond  of  adventure,  and  of  wild,  gleeful  fun  ; he  was  more  given  to  vivid  sensation 
than  to  sentiment  or  refinement ; he  acted  out  Emerson's  words,  ‘ There  is  hope  in  ex- 
travagance, there  is  none  in  routine  ’ ; he  was  brave  and  cordial,  and  sw'ept  on  to  his  end 
with  a rush,  like  a spring  waterfall,  happy  in  freedom,  and  in  haste  for  the  end  of  its 
course.  All  this  is  in  his  pictures,  and  while  we  love  the  works  of  others  more,  we  may 
gain  much  pleasure  from  his.” — Mrs.  C.  E.  Clement,  Painters,  Sculptors,  Architects,  and 
Engravers. 

Ldvy,  Emile.  (Fr.)  Born  at  Paris,  1826.  Chevalier  of  the  Le- 
gion of  Honor.  Studied  at  I’licole  des  Beaux- Arts  under  Abel  de 
Pujol  and  Picot.  He  gained  the  grand  prix  de  Rome  in  1854.  In 
1855  he  sent  to  the  E.xpoaition  a picture  of  “Noah  cursing  Canaan,” 
which  was  purchased  by  the  government.  His  “ Death  of  Orpheus  ” 
(1866)  is  in  the  Luxembourg.  In  1877  he  exhibited  the  “ Meta 
sudans,  or  the  Fountain  where  the  Wrestlers  of  the  Circus  made 
their  Ablutions,”  and  a portrait  ; in  1876,  “The  Willow”  and  “A 
Bather”  ; in  1875,  “ The  Brook,”  “ The  Boat,  — an  Idyl,”  and  a por- 
trait ; in  1874,  “Love  and  Folly”  ; in  1873,  “The  Path,  — an  Idyl” 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  65 


and  “ A Child  ” ; in  1872,  “ The  Letter  ” and  “ A Young  Girl  hear- 
ing Fruit  ” ; etc.  Levy  has  executed  decorative  works  in  the  church 
of  the  Trinity,  at  the  Cercle  de  1’ Union  artistique,  the  ceiling  of  the 
theater  of  the  Bouffes  Parisiens,  and  in  several  hotels,  etc.  At  the 
Salon  of  1878  he  exhibited  “Caligula.” 

L^vy,  Henri  Leopold.  (Fr.)  Born  at  Nancy,  1840.  Chevalier 
of  the  Legion  of  Honor.  Pupil  of  Picot,  Cahanel,  and  Fronientin. 
In  1865  he  exhibited  “ Hecuba  finding  the  Body  of  Polydorus  on  the 
Seashore  ” ; in  1867,  “ Joash  saved  from  the  Massacre  of  the  King’s 
Sons  ” ; in  1869,  “ Captive  Hebrews  weeping  over  the  Ruins  of 
Jerusalem  ” ; in  1872,  “ Herodias”  ; in  1873,  “ Christ  in  the  Tomb  ” ; 
in  1874,  “ Sarpedon  ” (in  the  Luxembourg)  ; etc.  His  “ Christ  in  the 
Tomb”  was  much  remarked.  In  1875  and  ’76  he  was  engaged 
in  decorative  paintings,  and  has  sent  nothing  to  the  Salons  since 
1874. 

“The  color  of  Henry  Levy  is  much  praised.  To  our  eyes  it  is  not  that  of  a frank  and 
sincere  colorist,  it  is  that  of  a man  of  taste  who  wishes  to  produce  some  picturesque 
effects.  Without  ever  reaching  great  power  he  turns  easily  to  mannerism.  Thns  his 
angel’s  wings,  instead  of  being  white  or  of  one  color,  are  diversely  and  brilliantly 
tinged.  In  the  dr.aperies,  in  the  nnde  bodies,  in  the  backgrounds,  even,  one  feels  an  in- 
cessant preoccupation  with  the  attempt  to  avoid  the  commonplace.  Moreover,  there  is 
a heaviness,  a defect  in  harmony  ; the  air  does  not  eircnlate  freely  about  his  personages. 
Levy  is,  in  point  of  color,  an  intelligent  pupil  and  feeble  imitator  of  Delacroix,  as  he  is 
in  design,  composition,  and  style  an  eclectic  pupii  of  the  great  masters.  He  has  neither 
an  inspired  genius,  nor,  perhaps,  even  the  temperament  of  a painter  ; he  is,  neverthe- 
less, one  of  the  most  distinguished  representatives  of  that  young,  romantic  renaissance 
which  essays  to  revive  among  us  the  traditions  of  the  grand  school.”  — Ernest 
Dovergier  de  Hauranne,  Eevue  des  Deux  Mondes,  June,  1873. 

Lewis,  John  Frederick,  R.  A.  (Brit.)  (1805  - 1876.)  Son  of  F. 
C.  Lewis  the  engraver,  whose  pupil  he  Avas.  He  began  his  art  career  by 
a series  of  animal  studies,  which  he  engraved  himself.  He  painted,  in 
1822,  “Deer-Shooting  at  Becthus,  Essex”  ; in  1826,  “ Deer-Shooting 
in  Windsor  Forest  ” ; and  was  elected  member  of  the  Society  of  Painters 
in  Water-Colors  in  1828.  He  subsequently  spent  some  years  in 
study  in  Spain,  Italy,  Greece,  Turkey,  and  the  East,  painting  his 
“ Spanish  Bull-Fight,”  “ Monks  preaching  at  Seville,”  “ Easter- Day 
at  Rome,”  and  other  pictures.  He  returned  to  England  in  1851.  In 
1855  he  was  elected  President  of  the  Water-Color  Society,  an 
office  he  held  for  three  years,  exhibiting  at  its  gallery,  in  1856,  his 
“ Frank  Halt  in  the  Desert  of  Mount  Sinai,”  called  by  Ruskin  “ the 
climax  of  water-color  drawing.”  He  exhibited  at  the  Royal  Gallery, 
in  oil,  in  1856,  “ The  Meeting  in  the  Desert  ” ; in  1859  (when  he  was 
made  Associate  of  the  Royal  Academy)  he  exhibited  “ Waiting  for 
the  Ferry-Boat,  — Upper  Egypt”;  in  1865,  “ A Turkish  School, — 
Cairo”  ; in  1866,  “ The  Door  of  a Cafe  in  Cairo  ” (his  diploma  work, 
deposited  on  his  election  as  an  Academician)  ; in  1868  he  exhibited 
“ An  Armenian  Lady  ” ; in  1872,  “ The  Prayer  of  Faith  shall  save  the 
Sick”  ; in  1874,  “ In-Door  Gossip”  and  “ Out-Door  Gossip,  Cairo”  ; 

£ 


66  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


in  1876,  “ Midday  Meal,  Cairo”  and  “On  the  Banks  of  the  Nile, — 
Upper  Egypt.”  He  was  made  an  Honorary  Member  of  the  Royal 
Scottish  Academy  in  1853. 

“ Mr.  Lewis’  * Frank  Halt  in  the  Desert’  [R  A.,  1863],  substantially  a reproduction 
In  oil  of  his  magnificent  drawing  in  the  water-color  exhibition  a few  years  back,  is 
wrought  out  with  such  subtle  truth  of  design,  and  colored  with  a skill  so  extraordinary, 
that  one  can  hardly  help  wishing  these  powers  devoted  to  a subject  of  larger  interest. 
Here  the  whole  scene  is  in  shadow,  yet  full  of  pervading  light” — Palgrave’s  E&sayz 
on  Art. 

If  ‘ The  Frank  in  the  Desert  of  Mount  Sinai  ’ stands  the  test  of  time,  it  will  one  day 
be  among  the  things  which  men  will  come  to  England  from  far  away  to  see,  and  will  go 
back  to  their  homes,  saying,  ‘ I have  seen  it ! * as  people  come  back  now  from  Venice, 
saying,  ‘ I have  seen  Titian’s  " Peter  Martyr  ! *”  ” — Mrs.  Tytler’s  Modern  Painters. 

“ There  cannot  be  the  slightest  doubt  that  in  losing  Lewis  we  have  lost  one  of  the 
most  powerful  and  original  of  English  artists.”  — London  Athenutum,  September,  1876. 

“Lewis*  style  combined  all  attainable  brilliancy  with  the  utmost  finish.”  — Art 
Jow'nal,  October,  1876. 

Lewis,  Frederick  C.  (Brit.)  (1813-  1875.)  Son  of  F.  C. 
Lewis,  an  eminent  English  engraver,  and  younger  brother  of  J.  F. 
Lewis,  R.  A.  He  became  an  artist  at  a very  early  age,  studying 
under  Sir  Thomas  Lawrence.  He  went  to  Persia  in  1844,  through 
Asia  Minor  and  to  India,  where  he  remained  for  many  years,  painting 
the  ceremonies  and  customs  of  the  natives,  his  pictures  being  fre- 
quently engraved.  He  was  a great  traveler,  and  is  said  to  have  pos- 
ited every  quarter  of  the  globe. 

Lewis,  Edmonia.  (Am.)  Born  in  the  State  of  New  York.  She 
has  in  her  veins  Indian  as  weU  as  African  blood.  Displapng  a natu- 
ral genius  for  sculpture,  and  comparatively  untaught,  she  first  exhib- 
ited in  Boston,  about  1865,  a portrait  bust  of  Colonel  Shaw,  which 
attracted  much  attention.  This  was  followed  by  “ The  Freed  woman,” 
a statue,  after  the  completion  of  which,  in  1867,  she  went  to  Rome, 
where  she  has  since  resided.  Very  few  of  her  works  have  been  sent 
to  America.  To  the  Centennial  Exhibition  she  contributed,  in  marble, 
“ The  Death  of  Cleopatra.”  Her  “ Old  Arrow-Maker  and  his  Daugh- 
ter,” “ Asleep,”  and  terra-cotta  busts  of  Sumner,  Longfellow,  J ohn 
Brown,  and  others,  are  known  to  the  visitors  of  her  studio  in  Rome, 
but  to  her  own  country  only  by  photograph}'.  Mrs.  Laura  Curtis 
Bullard  of  New  York  owns  her  “ Marriage  of  Hiawatha.”  The  Mar- 
quis of  Bute  bought  her  “ Madonna  with  the  Infant  Christ,”  an  altar- 
piece. 

“ Among  Miss  Lewis’  other  works  are  two  small  groups  illustrating  Longfellow’s  poem 
of  Hiawatha.  Her  first,  ‘ Hiawatha’s  Wooing,’  ‘ represents  Minnehaha  seated,  making  a 
pair  of  moccasins,  and  Hiawatha  by  her  side  with  a world  of  love  and  longing  in  his  eyes.’ 
In  the  marriage  they  stand  side  by  side,  with  clasped  h.ands.  In  both,  the  Indian  type 
of  feature  is  carefully  preserved,  and  every  detail  of  dress,  etc.,  is  true  to  nature  : the 
sentiment  is  equal  to  the  e.vecution.  They  are  charming  bits,  poetic,  simple,  and  natu- 
ral, and  no  happier  illustrations  of  Longfellow’s  most  original  poem  were  ever  made  than 
these  by  the  Indian  sculptor.”  — Revolution.  April,  1S71. 

” This  was  not  a beautiful  work  [‘  Cleopatra  ’],  but  it  was  a very  original  and  very  striking 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  67 


one,  and  it  deserves  particular  comment,  as  its  ideal  was  so  radically  different  from  those 

adopted  by  Story  and  Gould  in  their  statues  of  the  Egyptian  Queen The  effects  of 

death  are  represented  with  such  skill  as  to  be  absolutely  repellent.  Apart  from  all  ques- 
tions of  taste,  however,  the  striking  qualities  of  the  work  are  undeniable,  and  it  could 
only  have  been  produced  by  a sculptor  of  very  genuine  endowments.”  — Great  American 
Sculptors. 

Leys,  Baron  Jean  Auguste  Henri.  {Belgian.)  Born  at  Antwerp 
(1815  - 1869).  Made  Baron  in  1862.  Commander  of  the  Order  of 
Leopold.  Officer  of  the  Legion  of  Honor.  Member  of  the  Academy 
of  Antwerp.  Originally  intended  for  the  Church,  this  artist  was  so 
controlled  by  his  love  of  art  that  he  entered  the  studio  of  F.  de  Braek- 
eleer,  his  brother-in-law,  in  1830,  and  three  years  later  brought  him- 
self into  notice  by  his  picture  of  “The  Pillage  of  Antwerp  in  1576.” 
This  was  followed  by  “ A Fight  between  the  Citizens  of  Ghent  and 
a Party  of  Burgundians  ” and  “ The  Massacre  of  the  Magistrates  of 
Louvain  in  1379.”  In  1837  his  “Rich  and  Poor,”  exhibited  at  Ant- 
werp, was  bought  by  the  government.  “ Rembrandt’s  Studio  ” was 
sent  to  Brussels  the  same  year,  and  was  purchased  for  a gallery  in 
Ghent.  His  “Interior  of  an  Inn  Yard”  (1842)  is  in  the  Museum  of 
Frankfort.  The  “ Renewal  of  Public  Worship  in  the  Antwerp  Cathe- 
dral after  the  Disturbances  of  the  Iconoclasts  ” is  in  the  Brussels  Mu- 
seum. A picture  of  the  same,  subject  (24  by  31)  was  sold  by  Mr. 
Latham,  New  York,  1878,  for  $1,600.  After  1846  he  exhibited  noth- 
ing of  importance  until  1851,  when  “The  Fete  given  to  Rubens  by 
the  Gunsmiths  of  Antwerp  ” showed  the  change  which  his  manner  had 
undergone.  The  absurd  name  of  Pre-Raphaelite  is  perhaps  well 
enough  understood  to  allow  it  to  be  used  for  the  sake  of  conciseness, 
in  order  to  give  an  idea  of  what  this  newer  manner  of  Leys  is.  In 
1854,  which  may  be  called  his  best  period,  he  exhibited,  at  Brussels, 
“ La  Promenade  de  Faust,”  now  in  the  Brussels  Museum  ; “ New 
YeaPs  Day  in  Flanders,”  bought  by  M.  Fould  ; and  “Les  Trentaines 
de  Bartel  de  Haze.”  To  the  English  International  Exhibition  of 
1862  he  sent  “ Luther  singing  in  the  Streets  of  Eisenach.”  Soon  after 
Baron  Leys  was  commissioned  to  decorate  the  great  hall  of  the  Hotel 
de  Ville  of  Antwerp,  which  he  did  in  a series  of  pictures  illustrative  of 
the  eventful  history  of  that  city.  Want  of  space  forbids  a description 
of  these  works.  Baron  Leys  has  sometimes  executed  smaller  subjects. 
Among  his  other  works  are  many  excellent  etchings.  His  pictures 
are  very  numerous,  and  are  scattered  all  over  Europe.  Many  have 
been  reproduced  by  some  of  the  various  modes  of  engraving.  “ The 
Promenade  without  the  Walls,”  “New  Year’s  Day  in  Flanders”  (1855), 
and  “ Franz  Floris  going  to  a Fete  given  by  the  Confreres  of  St. 
Luke  ” are  among  his  chefs-d’ceuvre.  He  has  also  made  some  litho- 
graphs. At  the  Oppenheim  sale,  Paris,  1877,  “ Interieur  de  Luther 
a Wittenberg  ” sold  for  23,500  francs.  At  a sale  in  London,  1876, 
“Backgammon  Players”  sold  for  ,£903.  At  a sale  in  Brussels,  1874, 
“ The  Declaration  ” sold  for  £ 1,060.  The  same  work,  one  month 


68  ARTISTS  OF  THE  NINETEENTH  CENTURY. 

later,  at  Christie’s,  brought  1,110  guineas.  At  the  Paris  sale,  1868 
“ Fetes  in  Honor  of  Eubens  ” sold  for  £ 964.  At  the  Sale  Wittering! 
Paris,  1876,  “ The  Studio  of  Rembrandt,”  important  water-color, 
brought  1,920  francs.  At  the  Plint  sale,  London,  1862,  “Capestro! 
the  Carpenter  of  Antwerp,  preaching  in  his  Wood- Yard”  brought 
£ 850.  Zn  the  Berlin  E ational  Gallery  is  a Religious  Semdce  in 
Holland,  Seventeenth  Century,”  “ Holland  Society  in  the  Seventeenth 
Century,”  and  “ Diirer  in  Antwerp  painting  Erasmus.” 

“ Leys  is  not  only  this  year  the  grand  and  illusory  colorist  we  all  know  ; he  reve.als 

himself  as  a thinker  and  a poet ; his  pictures  are  not.  as  some  critics  insinuate, with 

whom  Fretich  gray  is  the  perfection  of  art,  — laborious  copies  of  the  mediaeval  age  ; they 
are  surprising  and  powerful  works,  created  by  a deep  knowledge  of  the  epochs  he  would 
represent.  With  Leys  one  entirely  lives  in  the  sixteenth  or  seventeenth  century,  and 
these  periods  he  would  not  have  you  understand  by  the  materialism  of  art,  such  as  cos- 
tumes, furniture,  and  architecture Leys  goes  much  beyond  this  ; he  searches  into 

the  very  depths  of  an  epoch  ; he  revives  its  moral  and  intellectual  life,  which  he  knows 
how  to  reflect  in  the  physiognomy  of  his  characters.”  — A Critique  of  the  Brussels  Exposi- 
tion o/18o4. 

“The  genius  of  Baron  Leys,  however,  is  of  so  diversified  a character  that  he  can  mold 
it  into  any  form,  and  adapt  it  to  any  purpose,  — to  the  humorous  or  the  pathetic,  to  the 
grandeur  of  history  or  the  incidents  of  ordinary  social  life  ; and  his  pencil  portrays,  with 
equal  truth,  vigor,  and  delicacy,  the  art  of  an  age  long  passed  away,  and  that  of  his  own 
time.’’  — James  Dafforne,  Art  Journal,  July,  1866. 

Lier,  Adolf.  (Ger.)  Bom  in  Herrnhut,  1826.  Member  of  the 
Academies  of  Munich  and  Dresden.  Medals  at  Vienna  and  Berlin. 
Studied  at  Dresden  Academy  and  under  Richard  Zimmemiann  in 
Munich.  At  Paris  he  was  under  Jules  Dupre.  Has  traveled  in  Italv, 
England,  and  Scotland.  At  the  National  Gallery,  Berlin,  is  “ Evening 
on  the  Iser.”  To  the  Paris  Exposition  of  1878  he  contributed  “An 
Autumn  Evening  on  the  Banks  of  the  Iser  ” (belonging  to  the  National 
Gallery,  Berlin). 

“ Adolf  Lier  is  inspired  by  a subtle  sympathy  with  Nature.  He  has  a fine  feeling  for 
her  various  aspects.  To  him  she  seems  to  sing  the  everlasting  minor  hymn  of  the  ages 
that  sweeps  sadly  over  the  sear  fields  in  the  plaintive,  melancholy  days  of  October,  when 
tlie  birds  are  flown,  the  flowers  are  faded,  and  the  dying  year,  drawing  to  its  end,  sym- 
bolizes the  brevity  of  life  below.”  — Benjamin’s  Contemporary  Art  in  Europe. 

Lima,  Victor  Meirelles  de.  (Brazilian.)  Of  Rio  de  Janeiro. 
Medal  at  Philadelphia,  where  he  exhibited  “The  Naval  Battle  of 
Riachuelo,”  “ The  Brazilian  Ironclad  Fleet  passing  by  Humaita,”  and 
“ The  First  Mass  in  Brazil.” 

Lindeneher,  Edouard.  (Fr.)  Bom  at  Vaugirard  (Seine),  1837.  At 
the  age  of  thirteen  this  artist  entered  the  atelier  of  FanniMe,  a “sculp- 
tor in  gold,”  and  has  remained  always  with  this  his  first  and  only  in- 
structor. In  connection  with  Fanniere,  as  his  collaborateur,  Lindeneher 
has  received  several  medals.  He  has  designed  for  various  bronze- 
makers,  has  sold  his  models,  and  his  works  have  appeared  with  the 
signatures  of  his  employers,  never  with  his  own.  Of  late,  however, 
he  has  become  more  widely  known  through  the  vases  and  other  pieces 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  69 


of  Haviland  faience  which  he  has  made  ; these  are  separately  modeled 
by  him  and  never  molded,  and  each  one  hears  his  name.  The  special 
excellence  of  the  works  of  Lindeneher  is  their  truthfulness  to  Nature. 
She  loses  nothing,  and  is  never  exaggerated,  but  is  reproduced  with 
her  own  sweet  grace  by  this  earnest  student  and  conscientious  artist. 

Lindenschmit,  Wilhelm.  (Ger.)  Born  in  Munich,  1829.  Pro- 
fessor at  the  Royal  Academy  of  Munich,  and  member  of  the  Academy 
of  Berlin.  Medal  at  Berlin,  1870.  Historical  painter.  S.  G.  W. 
Benjamin  says  : — 

“He  is  inspired  by  noble  thought  and  high  artistic  qualities  in  rendering  character, 
especially  in  historic  compositions.  His  scenes  in  the  career  of  Luther  are  marked  by 
•singular  power,  and  entitle  him  to  rank  among  the  foremost  living  artists  of  Germany,” 

Among  his  works  are,  “ Ulrich  von  Hutten  ” (now  at  the  Museum 
at  Leipsic),  several  pictures  from  the  life  of  Luther,  “ The  Poundation 
of  the  Order  of  the  Jesuits,”  and  “ The  Pleasures  of  the  Convent.” 
At  the  Berlin  Exposition  in  1876  he  exhibited  “ Martin  Luther  be- 
fore Cardinal  Cajetan,  Augsbourg,  1518,”  “Martin  Luther  brought  by 
his  Parents  to  the  School  of  the  Gray  Friars  at  Magdebourg,”  and  “ An 
Episode  in  the  Child-Life  of  Queen  Elizabeth,  1536.”  There  was  an 
exhibition  of  pictures  by  Munich  artists  in  Boston  in  April,  1878) 
where  the  “Venus”  by  this  artist  was  much  noticed. 

“ Lindenschmit  struggles  and  struggles,  but  cannot  get  out  of  the  dirty  brown  tone 
that  he  has  acquired  in  Belgium  into  a healthy,  free  atmosphere.  There  is  an  oppres- 
sive heaviness  in  all  his  figures  which  seems  to  rob  them  of  the  use  of  their  limbs.  They 
lack  life  and  motion,  they  all  look  jaundiced  and  ill ; red  cheeks  and  a healthy  complexion 
are  unknown  in  Lindenschmit’s  pictures,  yellow  and  leather-colored  faces  are  seen  on 
young  and  old.  If  we  compare  Lindenschmit’s  plain,  homely,  unpretentious  manner 
with  Karl  Becker’s  showy  costume  pictures,  we  shall  see  the  intrinsic  merit  of  the 
works  of  Lindenschmit  in  spite  of  their  faults  of  color.”  — Zeitschri/t  fur  bildende Kunst, 
1876. 

Lindholm,  B.  (Russian.)  Of  Helsingford,  Finland.  At  Philadel- 
phia he  exhibited  a picture  of  “A  Steamer  in  Floating  Ice,”  and  re- 
ceived a medal.  To  the  Paris  Exposition  in  1878  he  contributed 
“ Pasturage ” and  “A  Road  in  the  Forest.” 

Linnell,  John.  (Brit.)  Born  in  1792.  He  early  evinced  a taste 
for  art,  and  when  not  more  than  twelve  years  of  age  became  a pupil 
of  Benjamin  West,  studying  later  under  Varley  in  London.  In  1807 
he  sent  his  first  picture  to  the  Royal  Academy,  and  for  a period  of 
seventy  years  he  has  been  a regular  contributor  to  its  exhibition.s. 
He  began  the  practice  of  his  art  as  a miniature  and  portrait  painter, 
in  later  j^ears  turning  his  attention  to  landscapes,  in  which  branch  he 
has  won  considerable  distinction,  painting,  during  his  long  career, 
many  hundreds  of  pictures  which  are  in  the  public  and  private  col- 
lections of  England.  Among  the  Vernon  pictures  in  the  National 
Gallery  are  two  specimens  of  Linnell’s  work,  “Wood-Cutters”  (men 
felling  timber  in  Windsor  Forest),  and  “ The  Windmill,”  which  was 
at  the  Royal  Academy  in  1847.  Among  his  earlier  works  are,  “The 


70  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Timber- Wagon,”  “Eve  of  the  Deluge,”  “Barley-Harvest,”  “Under 
the  Hawthorn,”  “Christ  and  the  Woman  of  Samaria,”  “The  Last 
Gleam  before  the  Storm,”  etc.  In  1868  he  sent  to  the  Royal  Acad- 
emy, “Crossing  the  Brook”  ; in  1869,  “ The  Lost  Sheep”  ; in  1870, 
“Sleeping  for  Sorrow”  ; in  1871,  “Shelter”  ; in  1872,  “ The  Ford”  ; 
in  1873,  “The  Coming  Storm”;  in  1874,  “Wood-Cutters”  ; in  1875, 
“Woods  and  Forests”;  in  1876,  “The  Hollow  Tree”;  in  1877, 
“Autumn”;  in  1878,  “The  Heath.” 

“ The  forest  studies  of  John  Linnell  are  peculiarly  elaborate,  and  in  many  i)omt3 
most  skillful.”  — Ruskin’s  Modern  Painters. 

Linnell,  James  Thomas.  (Brit.')  Son  of  John  Linnell,  inherit- 
ing not  a little  of  his  fatheFs  talent.  He  first  exhibited  at  the  Royal 
Academy,  in  1850,  “ Temptation  in  the  Wilderness,”  followed,  in 
1851,  by  “Job  and  the  Messengers'”;  “ Mountain-Path,”  in  1857  ; 
“Wheat-Field,”  in  1858;  “ Haymakers,”  in  1862;  “ South  Coast,”  in 
1864;  “Moonlight  Road,” in  1867;  “Plowing,”  in  1868;  “Reaping,” 
in  1870  ; “ Moon  is  Up,”  in  1871  ; “A  Country  Road,”  in  1873  ; the 
“ Mower  whets  his  Scythe,”  in  1874  ; “ Sunset  over  the  Moors,”  in 
1875  ; “Dartmoor,”  in  1876  ; “Cherry  Blossoms,”  in  1877. 

Linnell,  William.  (Brit.)  Son  of  John  Linnell.  He  possesses 
much  of  the  family  genius,  and  has  exhibited  regularly  landscape 
pictures  in  the  Royal  Academy  for  some  years.  In  1861  he  sent 
“Collecting  the  Flock,  — Evening”;  in  1862,  “The  Gleanei-’s  Return”; 
in  1863,  “ Over  the  Muir  among  the  Heather  ”;  in  1864,  “ Banks  and 
Braes”  ; in  1866,  “The  Sheep  from  the  Goats”;  in  1867,  “The 
Heights  of  Abruzzi  ” ; in  1869,  “ Peasants  on  the  Mountains  on  their 
Way  to  Rome”;  in  1871,  “Rest  by  the  Way  ” ; in  1873,  “Over  the 
Heath  ” ; in  1874,  “ Through  the  Barley  ” ; in  1875,  “ Hoppers  on 
the  Road  ” ; in  1877,  “ The  Hay-Field  ” and  “ In  the  Leafy  Month  of 
June”  ; in  1878,  “The  Peasant’s  Homestead.”  In  1862  he  went  to 
Italy,  spending  his  winters  until  1867  in  Rome.  His  summer  home 
is  in  Surrey. 

“This  ts  a landscape,  however,  and  if  it  were  more  lightly  painted,  we  might  be  very 
happy  with  it  [‘  Hoppei's  on  the  Road’].  William  Linnell  cares  no  more  than  his  father 
for  brush  dexterity  ; but  he  does  no  worse  now  in  that  part  of  the  business  than  every 
one  else.  And  what  a relief  it  is  for  any  wholesome  human  sight,  after  sickening  itself 
among  the  blank  horrors  of  dirt,  ditch-'water,  and  malaria,  which  the  imitators  of  the 
French  schools  have  begrimed  our  various  exhibition  walls  with,  to  find  once  more  a 
bit  of  blue  in  the  sky  and  a glow  of  brown  in  the  coppice,  and  sec  that  ‘ Hoppers  ’ in  Kent 
can  enjoy  the  scarlet  and  purple  like  empresses  and  emperors."  — Ruskik’s  l\oics  of 
the  Academy,  1875. 

Liuton,  William.  (Brit.)  Born  in  Liverpool,  towards  the  end 
of  the  last  century.  Died,  1876.  Brought  up  to  mercantile  pursuits 
in  his  native  town,  he  devoted  himself  to  art  in  his  leisure  moments, 
and  finally  decided  to  adopt  it  as  a profession.  He  settled  in  London, 
and,  traveling  extensively,  he  executed  many  landscapes  and  pic- 
tures of  a genre  character.  He  exhibited  his  first  work  in  1819,  “ The 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  71 


Joiner’s  Shop,”  followed  by  “ Italy,”  “ Lake  Lugano,”  “ Bay  of  Na- 
ples,” “Ruins  of  Psestum,”  “Temple  of  Minerva  at  Rome,”  “Venice,” 
“ The  Tiber,”  “ Lancaster,”  “ Marius  at  Carthage,”  “ Jerusalem  at  the 
Time  of  the  Crucifixion,”  and  others,  many  of  which  have  been  en- 
graved. “ The  Temple  of  Psestum,”  bequeathed  by  Mr.  Linton  to 
the  British  peo])le,  is  in  the  National  Gallery,  London. 

Linton,  William  James.  {Brit.)  Born  near  London,  1812.  He 
studied  under  G.  W.  Bonner,  an  English  engraver,  and  quickly  estab- 
lished for  himself  a reputation  as  an  excellent  drauglitsman  on  wood. 
During  his  long  career  he  has  furnished  many  fine  illustrations  for 
books  and  periodicals,  both  in  the  United  States  and  in  Europe.  In 
1846  and  ’47  he  illustrated  “ History  of  Wood-Engraving  ” for  the  Illus- 
trated London  News  ; i.n  1860,  “Works  of  Deceased  British  Painters  ” 
for  the  Art  Union  of  London  ; in  1869,  Holland’s  “ Katrina  ” ; in 
1877,  Bryant’s  “ Flood  of  Years  ” ; in  1878,  “ Thanatop.sis,”  etc. 
Since  1867  he  has  been  a resident  of  the  United  States,  living  for 
some  years  in  New  York  ; he  finally  settled  in  New  Haven,  Ct., 
where  he  has  opened  a large  engraving  establishment.  He  is  a mem- 
ber of  the  Artists’  Annuity  Fund  of  England,  a member  of  the  American 
Society  of  Painters  in  Water-Colors,  and  an  Associate  of  the  National 
Academy  of  Design,  New  York.  He  paints  occasionally  in  water- 
colors,  but  his  artistic  fame  will  rest  upon  his  exquisite  engraving. 
Mr.  Linton  is  known  also  as  an  editor  and  author.  In  1851,  with 
others,  he  founded  the  London  Leader  ; in  1855  was  manager  of 
Pen  and  Pencil,  and  has  contributed  to  the  Nation,  Spectator,  West- 
minster Review,  etc.  In  1865  he  published  a volume  entitled 
“ Claribel  and  other  Poems  ” ; he  is  the  author  of  a Life  of  Thomas 
Paine.  “ The  Engraver,  his  Function  and  Status,”  by  Linton,  ap- 
peared in  Scribner’s  Monthly,  June,  1878. 

Mrs.  Linton  is  the  writer  of  a book  called  “ The  Lake  Countrj',” 
published  in  1864,  which  was  illustrated  by  her  husband,  who  fur- 
nished both  the  drawings  and  engravings. 

“Messrs.  Ticknor  & Fields  have  also  published  a pretty  little  Juvenile  entitled  ‘The 
Flower  and  the  Star,’  the  joint  composition  of  the  pen  and  pencil  of  Mr.  W.  J.  Linton, 
the  well-known  English  engraver,  which  pen  and  pencil  we  are  tempted  to  apostroi>hize 
in  the  words  of  Milton,  viz.  ‘ Blest  pair  of  Sirens.'  There  are  six  stories  in  Mr.  Linton’s 

little  quarto,  all  original and  there  are,  we  should  judge,  three  or  four  times  as 

many  illustrations  as  there  are  stories  ; and  most  exquisite  they  are.  In  the  first  ])lace, 
they  suggest  the  designs  of  no  other  artist,  American,  English,  French,  or  German  ; in 
the  second  place,  they  are  wonderfully  graceful,  fantastic,  and  airy.  Mr.  Linton’s  foliage, 
and,  indeed,  his  sceneiy  generally,  is  almost  beyond  our  praise,  if  only  for  the  reason 
that  we  are  at  a loss  whether  to  bestow  it  on  the  artist  or  the  engraver."  — Albion. 

“ Mr.  Linton  is  known  as  the  best  of  living  engravers,  and  as  an  artist  of  remarkable 
ability.  The  illustration  of  tliis  charming  little  story  will  more  than  sustain  his  reputa- 
tion in  this  respect,  and  the  story  itself  [‘The  Flower  and  the  Star’]  ought  to  make 
him  widely  known  as  a writer  who  understands  just  how  to  write  for  children.”  — Nevj 
York  Citizen. 

“There  are  several  wood-engravers  of  remarkable  talent,  but  none  succeed  in  giving 
to  the  wood-block  more  than  was  idaced  upon  it  by  the  draughtsman.  Their  greatest 


72  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


success  is  attained  in  leaving  the  drawing  no  worse  than  they  found  it  More  can  be 
done  if  you  happen  to  have  a little  real  genius,  and  Mr  Linton  is  happy  in  the  possession 
of  that  quality.”  — Pall  Mall  Gazette. 

Linton,  James  D.  {Brit.)  Bom  in  London,  1840.  He  received 
his  art  education  in  St.  Martin’s  School  of  Art,  Longacre,  and  under 
Mr.  Leigh  on  Newnnan  street,  spending  his  professional  life  in  his 
native  city.  He  has  been  a member  of  the  Institute  of  Painters  in 
Water-Colors  since  1867,  contributing  regularly  to  its  annual  exhibi- 
tions. Among  his  more  important  works  are,  “ Washing  the  Beggars’ 
Beet  on  Maunday  Thursday,”  in  1874  ; Lotus-Eaters  ” and  “ Off 
Guard,”  in  1875  ; “ The  Cardinal  Minister,”  in  1876  ; “ Ave  Maria,” 
in  1877  ; '•  bmiigres,”  in  1878  ; and  “ The  Flag  of  Truce,”  never  ex- 
hibited. His  “ Washing  the  Beggars’  Feet  ” was  at  the  Philadelphia 
Exhibition  of  1876;  “Off  Guard,”  “The  Cardinal  Minister,”  and 
“ Ave  Maria,”  at  Paris,  in  1878. 

“ 111  Linton’s  ‘ Volumnia  ’ the  figures  are  well  arranged,  the  face  of  Volumnia  reveal- 
ing much  of  the  fiery  nature  ascribed  to  her,  whilst  that  of  Virgilia  comliines  sweetness 
with  grief.  ‘ His  Eminence  the  Cardinal  ’ was  one  of  the  most  important  and  striking 
works  in  the  Exhibition  of  the  Institute  of  Water-Color  Painters  last  year.”  — Art  Jour- 
nal, May,  1S77. 

Liparini,  Ludovico.  (Ital.)  Bom  at  Bologna  (1800- 1856).  Pro- 
fessor in  the  Academy  of  Venice,  of  which  he  was  also  a pupd.  He 
traveled  in  Italy  and  studied  the  old  masters.  His  pictures  were  por- 
traits and  historical  subjects,  and  are  seen  in  the  galleries  of  Italy. 
Among  the  most  important  are,  the  “ Death  of  Bozzaris,”  the  “ Last 
Hours  of  lilarino  Faliero,”  the  “ Horatii  taking  the  Oath,”  and  a por- 
trait of  Pius  VII. 

Lippincott,  William  H.  (Am.)  A native  of  Philadelphia.  He 
has  been  for  some  time  a resident  of  Paris,  studying  under  Bonnat. 
He  devotes  liimself  to  portraits  and  pictures  of  child-life,  exhibiting 
in  the  National  Academy  of  New  York  and  the  Paris  Salons.  To 
the  latter  in  1878  be  sent  “ Lolotte  ” (belonging  to  Dr.  G.  D.  Cochran) 
and  a portrait  of  “ Miss  Ethel.”  To  the  Philadelphia  E.xhibition  of 
1876  he  sent  “The  Duck’s  Breakfast  ” ; to  the  Paris  Exposition,  1878. 
two  portraits  ; and  in  the  same  year  to  the  Society  of  American  Arti.sts 
in  New  York  and  to  the  Mechanics’  Fair,  Boston,  he  contributed  “ The 
Little  Prince.” 

Lloyd,  Thomas.  (Brit.)  Contemporary  English  landscape-artist, 
residing  in  London.  He  contributes  to  the  Royal  Academy,  and  to 
the  Society  of  Painters  in  W.ater-Colors,  of  which  he  was  elected  an 
Associate  in  1878.  Among  his  works,  in  oil,  are,  “ Nearly  Home,” 
“An  Hundred  Years  Ago,”  “ A Pastoral,”  “ Evening,”  etc.  In  water- 
colors  he  has  exhibited,  “ Fa.st  falls  the  Eventide,”  “ Up  the  River,” 
“ So  Tired,”  “ Shade,”  “ Sunshine,”  and  others. 

“In  the  ‘Pastoral’  [R.  A.,  1877]  the  lighting  up  of  the  hill  beyond  is  remarkably 
like  nature,  and  ‘ Nearly  Home’  is  very  faithful  to  rural  circumstances  as  well  as  nat- 
ural fact This  artist  is  making  rapid  strides,  and  bids  fair  to  become  one  of  our 

great  landscajie-painters.” — Art /ournul,  August,  1S77. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  73 


Lockhart,  W.  E.  (Brit.)  Born  in  Durafrieshire,  1846.  He 
entered  the  Trustees  Academy  in  1860,  studying  under  Eobert  Scott 
Lauder.  In  1863  he  went  to  Sydney,  and  in  1867  to  Spain,  exhibit- 
ing in  1868  his  first  Spanish  picture,  “ The  Lovers’  Quarrel.”  He 
has  made  frequent  visits  to  Spain,  spending  some  months  in  1875  on 
the  island  of  Majorca,  where  he  painted  his  “ Orange  Harvest.”  He 
was  elected  an  Associate  of  the  Royal  Scottish  Academy  in  1871,  a 
full  Member  in  1878,  and  also  in  the  latter  year  an  Associate  of  the 
Society  of  Painters  in  Water-Colors.  His  studio  is  in  Edinburgh. 
Among  his  works  may  be  mentioned,  “ The  Muleteers’  Halt,”  “ The 
Queen’s  Entry  into  Edinburgh  in  1876,”  “ St.  Andrews,”  “A  Scene 
from  the  Legend  of  Montrose,”  “ The  Interior  of  Roslyn  Chapel,” 
etc.  To  the  Royal  Scottish  Academy  in  1878  he  sent  “ The  Bride 
of  Lammermoor,”  “ Gil  Bias  and  the  Archbishop  of  Granada,”  “ Sun- 
set at  St.  Andrews,”  etc.  ; to  the  Water-Color  Exhibition,  London, 
1878,  “ The  Trongate,  Glasgow,”  “ Summer  Palace  at  the  Hague,” 
“The  Jackdaw  of  Rheims,”  and  others. 

Loefftz,  Ludwig.  Munich.  Medal  at  the  National  Exhibition, 
Munich.  A few  years  since  this  artist  was  a paper-hanger.  He  has 
now  a school  for  drawing.  He  is  one  of  the  important  men  in  the 
rising  German  school.  His  color,  drawing,  and  composition  are 
praised  by  critics  familiar  with  his  works.  At  the  Paris  Exposition 
of  1878  he  exhibited  “ A Cardinal,”  belonging  to  Mme.  de  Gradi'nger, 
Munich. 

Loison,  Pierre.  (EV.)  Born  at  Mer,  1821.  Chevalier  of  the 
Legion  of  Honor.  Pupil  of  David  d’ Angers.  He  made  his  debut  at 
the  Salon  of  1845.  His  bronze  figure  of  “ Victory, — the  Day  after  the 
Combat”  (1869)  is  at  the  Luxembourg.  The  statue  of  “Clo\ds”  is 
at  the  tower  of  Saint-Germain-1’ Auxerrois.  A bas-relief  of  “ Agri- 
culture distributing  Crowns  to  the  Children  of  La  Beauce  and  La 
Sologne  ” is  at  the  grain-market  of  Mer.  Several  statues  by  Loison 
are  in  the  churches  of  the  Trinity  and  of  Saint- Ambrose.  “ Venus  ” 
and  “ Navigation  ” are  at  the  Tuileries.  He  has  executed  many  por- 
traits, and  a variety  of  poetical  and  mythological  subjects.  At  the 
Salon  of  1877  he  exhibited  “ACanephora  offering  Fruits”;  in  1875, 
two  portrait  busts  ; etc. 

Lombardini,  Gaetano.  (Ital.)  Bom  at  St.  Arcangelo,  in  Ro- 
magna (1801  - 1869).  A devoted  student,  he  gained  prizes  in  every 
competition.  , Canova  was  his  master  for  a time,  and  gave  his  appro- 
bation to  the  “ Hercules  strangling  Antaeus,”  by  Lombardini.  A fine 
work,  a monument  with  the  figure  of  an  aged  paralytic,  is  ill  the 
cemetery  of  Cesena  ; a fine  figure  of  Christ,  in  the  same  place,  is  con- 
sidered by  artists  as  sufficient  to  give  him  fame.  This  sculptor  is  a 
brave  patriot,  and  has  served  his  country  well. 

Long,  Edwin,  A.  R.  A.  {Brit.)  He  has  resided  in  London  for 
many  years,  exhibiting  regularly  at  the  Royal  Academy,  of  which  he 
VOL.  II.  4 


74  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


was  made  Associate  in  1876.  Among  his  pictures  are,  “ La  Posada,”  in 
1864  ; “ Lazarilla  and  the  Blind  Beggar,”  in  1870  ; “ The  Suppliants,” 
in  1872  ; “ Babylonian  Marriage  Market,”  in  1875  ; “ Bethesda,”  in 
1876  ; “ Aji  Egyptian  Feast,”  in  1877  ; “ The  Gods  and  their  Makers  ” 
and  “ Henry  Irving  as  Gloucester,”  in  1878. 

[No  response  to  circular.] 

‘“The  Babylonian  Marriage  Market ’ is  a picture  of  great  merit,  and  well  deserving 
purchase  by  the  Anthrujiologieal  Society.  The  varieties  of  character  in  the  heads  are 
rendered  with  extreme  subtlety,  while  as  a mere  piece  of  painting  the  work  is  remarkable 
in  the  modern  school  for  its  absence  of  affectation.  There  is  no  insolently  indulged  in- 
dolence nor  vulgarly  asserted  dexterity.  The  painting  is  good  throughout  and  obtru- 
sively powerful.”  — Buskin’s  Notes  of  the  Academy,  1875. 

“ ‘ The  Egyptian  Feast  ’ will  at  once  attract  attention  as  the  only  subject-picture  of 
the  year  of  great  importance,  and  in  this  the  interest  is  archaeological  rather  than  human. 
The  iiicture  which  represents  the  close  of  a banquet  with  the  guests  seated  in  a semi- 
circle, while  two  slaves  drag  a mummy  round  to  remind  them  of  death,  hxs  many  fine 
quaiities,  and  shows  much  study  and  improvement  in  the  painter."  — Saturday  Reviev’, 
May,  1877. 

“ Mr.  Long’s  treatment  of  the  human  form  halts  midway  between  two  modes  of  design 
not  consistent.  It  is  too  artificial  to  have  the  familiar  charm  proper  to  a painting  of 
genre,  and  it  is  not  sufficiently  select  in  its  choice  of  gesture,  not  serious  enough  in  its 
conception  of  beauty,  to  satisfy  the  requirements.  In  depicting  upon  the  faces  of  the 
assembled  guests  [in  ‘ An  Egyptian  Feast ' ] the  varied  emotions  aroused  by  the  image  of 
death,  the  painter’s  invention  sinks  still  further  below  the  demands  of  his  subject. 
There  is  variety  of  feeling,  but  it  is  everywhere  expressed  with  too  much  emphasis  ; and 
the  gravity  of  the  few  who  closely  surround  the  bier  is  almost  mechanically  contrasted 
with  the  gayety  of  others  removed  from  its  influence  in  a manner  su^estive  of  well- 
planned  theatric  effect.”  — Fall  Mall  Gazette,  May,  1S77. 

“ Of  Mr.  Long’s  work,  whether  in  composition  or  portrait,  only  one  opinion  will  be 
held  this  year,  probably,  and  this  will  pronounce  that  the  artist,  after  the  slight  weak- 
ness of  last  year’s  work,  has  put  out  all  his  power  of  drawing  and  modeling,  and  has 
gained  greatly  in  sureness.  The  extreme  refinement  in  color  in  ‘ The  Gods  and  their 
Makers  ’ is  very  pleasing  ; different  tones  of  flesh  are  relieved  only  by  darker  or  lighter 
blue-greens,  except  in  the  case  of  the  negress  who  wears  a red  necklace,  the  only  bit  of 
primary  color  in  the  picture.  This  group  of  Egyptian  girls  is  full  of  fun  and  charm  : the 
background  tones  ai'c  delicately  varied.  ‘ Henry  Irving  as  the  Duke  of  Gloucester ' is 
altogether  a noble  portrait.”  — Magazine  of  Art,  June,  1S78. 

Longfellow,  Ernest  W.  (Am.)  Born  in  Cambridge,  Mass.,  1845. 
Son  of  Henry  AV.  Longfellow.  Landscape  and  portrait  painter.  His 
professional  iife  has  been  spent  in  Boston,  with  frec^uent  visits  to 
Europe.  He  passed  the  winter  of  1865  and  ’66  in  Paris  in  work  and 
study,  and  the  summers  of  1876  and  ’77  in  \ illiers-le-Bel  under  Cou- 
ture. A number  of  his  works  were  exhibited  and  sold  in  Boston  in 
1876.  His  “ Coast  Scene,  Nahant  ” was  at  the  National  Academy  in 
1871  ; “A  View  in  Essex  County,  Mass.  ” in  1875.  He  sent  to  the 
Philadelphia  Exhibition,  in  1876^  “ Old  Mill  at  Manchester.  Mass.” 
J.  Duff  owns  his  “ Italian  Pines  in  Cannes.”  His  “John  and  Priscilla,” 
exhibited  at  AVilliains  & Everett’s,  Boston,  in  18/5,  attracted  much 
attention.  It  represents  the  Puritan  youths  strolling  on  the  beach,  the 
water  rolling  its  breakei-s  nearly  to  their  feet,  and  the  sun  setting  brill- 
iantly in  the  background.  It  -was  one  of  his  earlier  efforts  at  figure- 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  75 


painting,  a branch  of  the  art  to  which  of  late  he  has  more  particularly 
turned  his  attention.  The  Art  Journal  of  July,  1877,  says  ; “ Ernest 
Longfellow  is  one  of  our  rising  young  artists.  It  is  evident  that  his 
special  talent  lies  in  landscape  art.”  Very  few  of  his  figure-pieces 
or  portraits  have  as  yet  been  exhibited. 

Loop,  Henry  A.,  N.  A.  {Am.)  Born  at  Hillsdale,  N.  Y.,  1831. 
Settled  in  New  York  City  in  1850,  studying  for  a year  mth  Henry 
Peters  Gray.  In  1856  he  went  to  Paris,  where  he  entered  the  atelier 
of  Couture,  remaining  six  months,  and  spending,  subsequently,  a year 
in  study  in  Rome,  Venice,  and  Florence.  He  went  abroad  again  in 
1867,  visiting  the  Continental  art  cities  and  remaining  about  eighteen 
months.  With  these  exceptions  his  professional  life  hiis  been  spent 
in  New  York.  He  was  elected  a member  of  the  Academy  of  Design 
in  1861.  He  is  a member  also  of  the  Artists’  Fund  Society.  Among 
his  ideal  works  are,  “ Undine,”  in  the  National  Academy  in  1863  ; 
“Clytie,”  in  1865  ; “The  Improvisatrice  ” and  “ Italian  Minstrel,”  in 
1869 ; “ Lake  Maggiore,”  in  1870  ; “ The  White  Rose,”  in  1871  ; “ Idle 
Fancies,”  in  1874  ; “Venice,”  in  1875  (belonging  to  John  J.  Cisco)  ; 
“Aphrodite”  (belonging  to  C.  P.  Huntington)  and  “^noue”  (to 
Oliver  Harriman),  in  1877  ; “ Herrnia,”  “ Marina,”  and  a portrait,  in 
1878. 

Loop’s  “ Italian  Minstrel  ” was  in  the  Paris  Salon  of  1868  ; his 
“Aphrodite”  in  the  Centennial  E.xhibition  of  1876.  Among  his 
portraits  are  those  of  J.  M.  Ward,  W.  Whittredge,  and  Dr.  Reisig  of 
New  York. 

“A picture  [by  H.  A.  Loop]  of  ‘Undine  ’ standing  by  the  water,  whose  child  she  was, 
is  full  of  varied  loveliness,  the  ethereality  of  the  sprite  being  finely  given  by  a luminous 
quality  of  flesh  which  makes  the  delicate,  graceful  body  half  transparent,  and  by  a man- 
agement of  the  pale  golden  hair  with  the  shrouded  light  behind  it  that  almost  gives  one 
the  sensation  of  a phosphorescent  glow.  Few  pictures  of  the  supernatural  exhibited 
here  have  ever  exceeded  this  ‘ Undine  ’ in  sweetness  of  conception  or  subtlety  of  man- 
agement.” — New  York  Evening  Post,  June  1,  1863. 

Loop’s  full-length  portrait  of  J.  P.  Townsend  [N.  A.,  1876]  is  a firmly  painted  and 
expressive  work.  The  likeness  is  admirable,  and  in  spirit  and  expression  it  is  not  ex- 
celled by  any  work  in  the  Exhibition."  — Art  Journal,  May,  1876. 

Loop.  Mrs.  Henry  A.,  A.  N.  A.  (Am.)  Born  in  New  Haven, 
1840.  She  began  her  art  studies  under  Prof.  Louis  Bail,  in  her  na- 
tive city  ; later,  entered  the  studio  of  her  husband  in  New  York, 
and  spent  two  years  at  work  and  in  study  in  Rome,  Paris,  and  Venice. 
Her  professional  life  has  been  spent  in  New  Haven  and  New  York. 
She  was  elected  an  Associate  of  the  National  Academy  in  1875,  and 
has  for  some  years  been  a frequent  contributor  to  its  exhibitions. 
Among  the  more  important  of  her  works  are  portraits  of  Professor 
Lamed  and  Professor  Hadley  of  New  Haven  ; of  Miss  Alexander, 
Miss  Harriman,  Mrs.  Joseph  Low,  and  others  in  New  York  ; and 
ideal  figures,  entitled  “ Baby  Belle  ” (owned  in  Newburg,  N.  Y.), 
“Little  Runaway”  (owned  by  Mr.  St.  John  of  New  York),  “A 
Bouquet  for  Mamma  ” (in  the  possession  of  a lady  in  Detroit),  etc. 


76  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


“We  have  not  many  better  portrait-painters  than  this  lady  [Mrs.  Loop]  in  our  country. 
That  she  had  abiiity  was  evident  in  the  first  picture  she  exhibited,  and  from  the  first  she 
has  steadily  and  solidly  improved.  ....  Mrs.  Loop’s  picture  is  an  honest,  unpretending 
work,  well  drawn,  naturally  posed,  and  clearly,  solidly  colored.  There  is  not  a trace  of 
affectation  about  it ; the  artistic  effects  are  produced  in  the  most  straightforward  way. 
The  weak  point  is  the  eyes,  which,  to  our  thinking,  want  lighting  up  a little  ; they  are 
good  in  color  and  expression,  but  not  liquid  enough.’’  — C.  C.,  in  New  York  Tribune, 
April  24,  1874. 

“ Mrs.  Loop  is  certainly  the  leading  portrait-painter  among  our  lady  artists.  Indeed, 
so  highly  respected  is  her  brush  that  she  has  been  chosen  to  furnish  pictures  of  some  of 
our  former  chief  custom-house  officers,  whose  portraits  were  voted  to  hang  on  the  walls 
of  their  rotunda.  She  is  vigorous,  conscientious,  and  perceptive.”  — Chicago  Times, 
May  25,  1875. 

Loose,  Basile  de.  {Ger.)  Bom  at  Zeele,  1809.  Studied  under 
his  father,  and  at  the  Antwerp  Academy.  In  1835  he  went  to  Paris. 
Settled  at  Brussels.  In  the  National  Gallery  at  Berlin  are  his  “ Scene 
at  an  Inn  ” and  “ A Family  Scene  in  Holland.”  At  the  Leipsic  Mu- 
seum are  “ A Dance  of  Children  ” and  “ The  Lace-Maker.” 

Lossow,  Arnold  Hermann.  (Ger.)  Died  at  Munich  (1805- 
1874).  This  sculptor  was  one  of  SchwanthaleFs  best  pupils,  and  exe- 
cuted much  work  for  Louis  1.  of  Bavaria.  His  friezes  and  statues  at 
the  Walhalla  and  Glyptothek  are  greatly  admired. 

Lossow,  Friedrich.  (Ger.)  Born  at  Munich  (1838  - 1872).  Son 
of  the  preceding.  He  was  an  animal-painter,  and  there  was  a vem 
of  humor  running  through  his  pictures  which  was  very  attractive. 
Among  his  works  are,  “ A Hound  with  her  Young,”  “ A House  Dog,” 
several  pictures  with  rats,  “ A Country  Scene,”  etc.  His  drawing 
was  better  than  his  color.  Perhaps  his  best  works  are  his  illustrations 
for  books  and  publications,  which  are  numerous. 

Lough,  John  Graham.  (Brit.)  Born  in  the  latter  part  of  the 
eighteenth  century.  Died,  1876.  Son  of  a small  former  of  Northum- 
berland, apprenticed  to  a stone-mason  in  his  native  country,  he  became 
an  ornamental  sculptor  and  builder  at  Newcastle.  Studied  the  El- 
gin marbles  in  the  British  Museum,  and  first  exhibited  at  the  Royal 
Academy,  in  1826,  “ The  Death  of  Turnus,”  in  bas-relief.  “ Duncan’s 
Horse,”  a more  famous  work,  appeared  in  1832.  In  1834  he  went 
to  Italy,  spending  four  years.  Among  his  works  are,  “ Night’s  Swift 
Dragon,”  “ The  Mourners,”  “ Midsummer  Night’s  Dream,”  and  the 
statue  of  the  Queen  (in  the  Royal  E.xchange,  London),  of  Prince  Al- 
bert (at  Lloyd’s),  the  Monument  to  Southey  (at  Keswick),  and  a colos- 
sal statue  of  George  Stephenson  (in  bronze,  at  Newcastle-on-Tyne). 
His  “ Milo  and  Samson  ” belonged  to  the  first  Duke  of  Wellington. 

Louvrier  de  Lajolais,  Jacques- Auguste-Gaston.  (Fr.)  Bom 
at  Paris.  Chevalier  of  the  Legion  of  Honor.  Pupil  of  Gleyre  and 
J.  Noel.  At  the  Salon  of  1876  he  e.xhibited  “For  a Fete”  and  “A 
Difficult  Passage.” 

Low,  Will  H.  (Am.)  Born  in  Albany,  N.  Y.,  1853.  A pro- 
tege of  E.  D.  Palmer  the  sculptor,  from  whom  he  received  encourage- 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  77 


merit  and  advice.  He  worked  for  the  illustrated  papers  in  New  York 
from  1871  to  ’73,  when  he  went  to  Paris  and  entered  the  studio  of 
Gerome,  remaining  a few  months.  Later,  he  studied  with  Carolus 
Duran  for  four  years,  returning  to  America  in  1877.  He  js  a member 
of  the  Society  of  American  Artist.s.  Among  his  most  important  works 
are,  “Windy  Weather”  (1875),  belonging  to  Arthur  Haseltine,  Lon- 
don  ; “ Reverie,  — Time  of  the  First  Empire  ” (Paris  Salon,  1876,  and 
the  National  Academy,  N.  Y.,  1877),  belonging  to  J.  B.  Thatcher  of 
Albany  ; portrait  of  Mile.  Alhani  (Paris  Salon,  1877),  belonging  to 
Robert  Higgins  of  Albany  ; “ Among  the  Daisies,”  belonging  to  Sir 
Walter  Simpson  of  Edinburgh  (at  the  Paris  Exposition  of  1878) ; etc. 

Lucas,  John.  {Brit.)  Born  in  London  (1807  - 1874).  As  a lad, 
he  was  apprenticed  to  an  engraver,  but  devoted  his  leisure  hours  to 
study,  and  began  the  practice  of  his  profession  in  1829  as  a portrait- 
painter.  Many  of  the  most  distinguished  people  of  England  were 
among  his  subjects.  Among  his  better  known  works  have  been  four 
pictures  of  the  Prince  Consort,  several  of  the  Princess  Royal,  of  the 
Duke  of  Wellington,  King  of  Hanover,  Rogers  the  poet,  Gladstone, 
and  others.  He  also  painted  a portrait  group  of  Stephenson,  Locke, 
Brunei,  and  other  eminent  engineers  in  consultation  over  the  Mehai 
Bridge.  Some  sixty  of  John  Lucas’  portraits  have  been  engraved. 

Luccardi,  Vincenzo.  (Ital.)  Born  at  Geniona  (1811-1876). 
Knight  of  the  Orders  of  St.  Gregory  the  Great,  and  of  the  Piano. 
Chevalier  of  the  Legion  of  Honor.  Professor  in  the  Academy  of  St. 
Luke  and  other  Italian  institutes.  Prizes  at  Florence  and  Vienna. 
Nine  medals  at  Venice.  Studied  at  Venice,  and  settled  at  Rome; 
Among  bis  best  works  are,  “ Cain,”  “ The  Deluge,”  “ Raphael  and 
the  Fornarina,”  “ Hagar  and  Ishmael,”  “ Cleopatra,”  and  “ Aida.”  At 
Munich,  in  1870,  he  e.xhibited  a “ Venus  ” and  “ The  Four  Seasons.” 

Lucy,  Charles.  (Brit.)  Born  near  Herford  (about  1804-  1873). 
At  an  early  age  he  went  to  liondon  to  study  art,  but,  leaving  for 
Paris  after  a short  time,  entered  I’licole  des  Beaux- Arts,  studying  also 
under  Paul  Delaroche.  He  subsequently  became  a pupil  of  the  Royal 
Academy,  London.  He  was  a constant  exhibitor  at  the  Royal  Acad- 
emy of  original  historical  paintings,  besides  making  many  realistic 
copies  of  the  old  masters,  residing  for  upwards  of  sixteen  years  near 
Fontainebleau.  In  1860  he  sent  to  the  Royal  Academy,  London, 
“Lord  Saye  and  Sele  arraigned  in  1451  before  Jack  Cade”  ; in  1863, 

“ The  Reconciliation  between  Gainsborough  and  Sir  Joshua  Reynolds  ” ; 
in  1865,  “Garibaldi  at  the  Tomb  of  Ugo  Foscolo”  ; in  1867,  “The 
Intercepted  Embarkation  of  John  Hampden  and  his  Friends”;  in 
1868,  “ The  Forced  Abdication  of  Marie  Stuart  at  Lochleven  Castle”;; 
in  1869,  “ Noontide  Repose  ” and  a portrait  of  Mr.  Gladstone  ; in  1871, 
Charlotte  Corday  returning  to  Prison  after  her  Condemnation  ” ; in 
1872,  “Columbus  at  the  Monastery  of  La  Rabida”  ; in  1873,  “The 
Parting  of  Lord  William  and  Lady  Russell  in  1683.” 


78  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


" Mr.  Lucy’s  ‘ Reconciliation  of  Reynolds  and  Gainsborough,’  like  other  pictures  of  this 
thoughtful  and  conscientious  artist,  interesting  and  unaffected  in  idea,  does  not  aim  at 
richness  or  relief,  — qualities  which,  however,  a painter  can  rarely  afford  to  dispense 
witlu”  — Palgrave's  Essays  on  Art. 

“ If  Mr.  Lucy  failed  to  acquire  a distinguished  name  in  the  roll  of  painters,  it  was 
not  for  want  of  perseverance  or  from  the  absence  of  talent,  although  it  might  not  have 
been  of  the  highest  order.  In  noticing  his  exhibited  works  during  many  past  years  we 
have  endeavored  to  render  justice  to  the  merits  of  his  pictures,  which  seldom  or  never 
failed  to  be  popular,  as  much  for  the  interest  attached  to  the  subjects  he  selected  as  for 
the  pleasing  and  conscientious  manner  in  which  they  were  carried  out”  — Art  Journal. 
July,  1873. 

Luminals,  Evariste-Vital.  (Fr.)  Born  at  Nantes,  about  1818. 
Chevalier  of  the  Legion  of  Honor.  Medal  at  Philadelphia.  Pupil 
of  Cogniet.  He  paints  both  in  oil  and  in  water  colors  ; and  has 
painted  a few  portraits  and  made  many  sketches.  At  the  Salon  of 
1877  he  exhibited  “A  toute  volee”  and  “A  Prisoner  in  Flight” 
(oils),  and  “ The  Tame  Bull  ” and  “ Pirates  ” (water-colors)  ; in  1876, 
“ The  Consequences  of  a Duel  in  1625”  ; in  1875,  “ King  Morvan” 
and  “A  Flock  carried  off  to  the  Enemy.”  “ The  Keluctant  Bather” 
is  in  the  collection  of  Mrs.  H.  E.  Maynard  of  Boston. 

“ Formerly  Luminals  affected  the  contrasts  and  the  play  of  light  and  shade  on  pictu- 
resque costumes  and  uneven  ground  ; at  present  he  seeks  rather  the  movement  and  ac- 
tion of  the  human  figure,  and  places  at  the  service  of  bold  conscientious  drawing  the 
prestige  of  large  execution  and  brilliant  color.” — J.  Grascedor,  Gazette  des Beaux- Arts, 
July,  1S6S. 

Lundgren,  Egron.  (Swede.)  (1816-1875.)  Received  his  art 
education  in  Paris,  where  he  lived  and  studied  for  four  years.  He 
painted  also  during  four  j'ears  in  Italy,  and  for  five  years  in  Spain.  Was 
made  a Knight  of  the  Order  of  Gustavus  Vasa  by  the  King  of  Sweden. 
Settled  in  London  in  1853,  and  was  ujion  the  staff  of  Lord  Clyde  in 
India,  where  he  made  many  valuable  sketches.  He  was  one  of  the 
leading  members  of  the  Society  of  Painters  in  Water-Colors,  contrib- 
uting to  their  gallery  in  London,  in  1873,  “Italian  Music,”  “The 
Traveling  Companions,”  and  “ A Child’s  Head  ” ; in  1875  (the  year 
of  his  death),  “ Rafaela  ” and  “ Children  Playing.” 

Lupton,  Thomas  Goa  (Brit.)  (1790-1873.)  He  was  appren- 
ticed to  a mezzotint  engraver  at  an  early  age,  and  during  his  career 
has  engraved  the  portraits  of  many  distinguished  men  after  the  lead- 
ing portrait-painters  of  his  day,  besides  “Sunrise,  — Fishing  off  Mar- 
gate ” and  “ Eddystone  Lighthouse,”  after  Turner,  and  other  important 
landscapes  of  eminent  artists. 

Lyun,  Samuel  Ferris.  (Brit.)  Native  of  Ireland.  Died,  1876. 
Studied  in  Belfast  under  his  brother,  an  architect,  and  in  the  Royal 
Academy,  London.  In  1857  he  received  the  silver  medal  for  the  best 
study  from  life,  and  in  1859  the  Academy  gold  medal  for  the  best 
historical  compo.sition.  Resided  in  London  until  1875,  and  was  a 
constant  exhibitor  of  portrait  and  ideal  statues,  statuettes,  and  busts. 
Among  these  may  be  mentioned,  “ Evangeline,”  “ The  Death  of  Pro- 


ARTISTS  OF  THE  NINETEENTH  CENTURY. 


79 


cris,”  “ Master  Magrath  ” (tlie  famous  hound  of  Lord  Lurgan),  “ The 
First  Prayer,”  and  portraits  of  many  eminent  contemporary  Irishmen. 

Macallum,  Hamilton.  (Brit.)  Born  at  the  Kyles  of  Bute,  1843. 
He  entered  the  Royal  Academy,  London,  in  1865,  and  has  a studio 
in  the  English  metropolis.  Among  his  works  are,  “ Shrimping,” 
“ Waiting  for  the  Ebb,”  “ The  Kyles  of  Bute,”  etc.  His  “ Gathering 
Seaweed  on  the  West  Coast  of  Scotland”  was  at  the  Paris  Exposition 
of  1878. 

Macbeth,  Norman.  (Brit.)  A native  of  Aberdeen.  Portrait- 
painter,  spending  his  professional  life  in  Edinburgh,  where  his  work 
is  highly  regarded.  He  has  been  for  some  years  an  Associate  of  the 
Royal  Scottish  Academy.  He  has  executed  many  presentation  por- 
traits of  distinguished  clergymen,  and  others,  for  the  public  institutions 
of  Scotland.  Among  his  sitters  have  been  Dr.  Guthrie,  Dr.  John 
Bruck,  Dr.  Begg,  Dr.  Cunningham,  etc.  He  exhibits  frequently  in 
London.  His  portrait  of  Sir  John  Steell,  R.  S.  A.,  was  at  the  Royal 
Academy  in  1877,  and  at  the  Royal  Scottish  Academy  the  following 
year.  He  sent  a portrait  of  William  Forrest,  A.  R.  S.  A.,  to  the  Paris 
Exposition  of  1878. 

Macbeth,  R.  W.  (Brit.)  Born  in  Glasgow,  1848.  Son  of  Nor- 
man Macbeth,  A.  R.  S.  A.,  a Scottish  portrait-painter.  R.  W.  Macbeth 
studied  in  the  Royal  Academy,  and  has  since  practiced  his  profession 
in  London.  He  was  elected  an  Associate  of  the  Society  of  Painters  in 
Water-Colors  in  1871,  exhibiting  there  and  in  the  Royal  Academy 
pictures  generally  genre  in  character,  and  relating  often  to  modern  life. 
In  1877  he  sent  to  the  Royal  Academy,  “ Potato  Harvest  in  the  Fens  ”; 
in  1878,  “Sedge-Cutting  in  Wicken  Fen,  Cambridgeshire,  — Early 
Morning  ” (both  in  oil).  Among  his  water-color  drawings  may  be 
mentioned,  “ Linked  Names,”  “ Land  at  Last,”  “ News,”  “A  Winter’s 
Walk,”  “ Motherly  Indulgence,”  “ The  Morning  Post,”  “ The  Ghost 
Story,”  “ Lady  Bountiful,”  etc.  His  “ Evening  Hour  ” and  “ Favor- 
ite Customer”  were  at  the  Glasgow  Loan  Exhibition  of  1878.  To 
the  Paris  Exposition  of  1878  he  sent  the  “ Potato  Harvest  in  the 
Fens  ” and  his  “ Lincolnshire  Gang.” 

“ R.  W.  Macbeth’s  ‘ Potato  Harvest  in  tlie  Fens  ’ maintains  its  well-earned  prestige 
as  one  of  the  principal  attractions  of  the  present  Academy  Exhibition.”  — Jrt  Journal, 
August,  1877. 

“ Macbetli’s  ‘ Lincolnshire  Gang  ’ is  powerfully  rendered  in  color,  drawing,  and  com- 
position.” — Benjamin’s  Contemporary  Art  in  Europe. 

Macbeth,  James.  (Brit.)  Son  of  Norman,  and  brother  of  R.  W. 
Macbeth.  He  is  a native  of  Scotland,  but  has  resided  for  some  time 
in  London,  exhibiting  his  iiaintings,  landscapes,  figure-pieces,  and  por- 
traits at  the  Royal  Academy,  the  Royal  Scottish  Academy,  the  Dudley 
Gallery,  and  elsewhere.  His  “ Sunny  Day  in  the  Highlands  ” was  at 
the  Royal  Academy  in  1878.  To  the  Paris  E.xposition,  the  same  year, 
he  sent  “ Gareloch  on  the  Clyde  ” and  “ The  Moor  at  Whistlefield  ” 


80  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


(in  oil),  and  “ Sunday  Evening,  Chelsea  Hospital  Gardens  (in  water- 
colors). 

MacCallum,  Andrew.  {Brit.)  Bom  in  Nottingham,  1828.  Stud- 
ied in  the  Government  School  of  Art  in  his  native  city,  and  went  to 
London  in  1849,  when  he  became  a student  in  the  School  of  Design 
in  Somerset  House.  He  went  to  Manchester  in  1851  as  a teacher,  and 
was  sent  in  1853  to  Italy,  visiting  Milan,  Florence,  Venice,  Naples,  etc., 
selecting  examples  of  all  kinds  of  mural  paintings  for  the  South  Ken- 
sington Museum.  He  returned  to  England  in  1858,  turning  his  atten- 
tion to  painting  and  opening  a studio  in  London.  He  had  pre%dously, 
however,  contributed  to  the  Royal  Academy  several  Venetian  sketches. 
In  1868  he  exhibited  “ The  Approach  of  the  Malaria,  Ancient  Rome,” 
followed  in  other  years  by  “A  Moorland  Queen”  (bought  by  John 
Phillip,  R.  A.),  “ The  Four  Seasons,”  “ The  Harvest  of  the  IVood,” 
“The  Vanguard  of  the  Forest,”  “ Rheingrafenstein,  on  the  Rhine,” 
“ Rome  from  Monti  Mario,”  “ A Sand-Drift,  Egypt,”  “ Sunri.se,  Plain 
of  Thebes,”  “Charlemagne  Oak,  Forest  of  Fontainebleau,”  a series  of 
views  near  Balmoral  (painted  for  the  Queen),  etc.  An  exhibition  of 
thirty-five  of  his  works  in  London,  in  1866,  attracted  much  attention. 
His  “ Sultry  Eve  ” was  at  the  Centennial  Exhibition  at  Philadeljihia 
in  1876. 

“ The  power  and  weakness  of  contemporary  landscape-painters  have  never  been  more 
strikingly  exemplified  than  in  the  works  of  MacCallum.  Nobody  ever  drew  the  strength 
of  a birch-tree  or  the  lightness  of  a beech  with  more  entire  understanding  of  the  nature 
of  the  tree,  and  the  giants  of  the  forest  were  never  celebrated  by  a band  more  faithful 

or  laborious But,  notwithstanding  Mr.  MacCallum’s  great  power  of  obseiwa- 

tion  and  memory  and  realization,  he  has  no  spiritual  power.  Not  one  of  his  pictures 
ever  affects  us  when  we  stand  before  it  or  haunts  us  when  we  have  left  it  ” — Haueb- 
TojJ,  English  Painters  of  the  Present  Day. 

“ Although  Mr.  MacCallum  is  essentially  a tree-painter,  and  revels  in  the  glories  of 
the  wood  and  the  forest,  he  has  produced  works  that  prove  his  habors  have  not  been 
limited  to  such  subjects  ; his  sylvan  life  has  been  alternated  with  glacial  mountain 
scenery,  with  the  architecture  of  Venice  and  other  jdaces,  and  with  the  arid  deserts  of 
the  East.  In  some  of  the  latter  works  we  see  the  influence  of  poetic  feeling  which  is 
generally  .absent  in  his  other  pictures  ; here  he  is  real  and  naturalistic,  material  and  sci- 
entific.” — J-tMES  Dafeorne,  London  Art  Journal,  December,  1877. 

Maccari,  Cesare.  {Ital.)  Born  at  Siena,  1840.  Pupil  of  Luigi 
Mussini.  He  gained  the  frix  de  Rome,  and  studied  in  that  city.  He 
.affects  the  coloring  of  the  Venetian  school.  His  first  important 
work,  “ Fabiola,”  belongs  to  Dupre  of  Florence.  His  “ Melody  ” fol- 
lowed, and  is  exceedingly  beautiful.  The  “ Descent  from  the  Cross  ” is 
a grand  composition,  and  shows  a masterly  handling  of  light  and  shade. 
The  frescos  on  the  ceiling  of  the  ro3'al  chapel  of  the  Sudario  in  Rome 
add  greatly  to  the  fame  of  Maccari.  Thev  were  a commission  from  Vic- 
tor Emmanuel.  For  the  palace  of  the  Quirinal  in  Rome  he  executed 
a fresco  of  the  “ Triumph  of  the  Three  Graces,”  and  for  the  chapel  of 
the  cemetery  at  Campo  Veramo,  Rome,  a lunette,  “ Tobias  buri'ing 
the  Dead.”  At  Philadelphia,  in  1876,  were  two  of  his  works  (be- 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  81 


longing  to  J.  Eaymond  Claghorn),  “ Fond  Memories  ” and  “ Music 
hath  Charms,”  for  which  he  received  a medal. 

MacCulloch,  Horatio.  {Brit.)  Born  in  Glasgow  (1805  - 1867). 
Educated  in  his  native  city,  studying  art  under  John  Knox,  a well- 
known  landscape-painter.  A picture  exhibited  in  Glasgow,  in  1828, 
first  brought  him  into  prominent  notice.  His  “ View  of  the  Clyde,” 
painted  in  1829,  attracted  some  attention  in  Edinburgh.  He  was 
elected  an  Associate  of  the  Koyal  Scottish  Academy  in  1834,  and  full 
member  in  1838,  exhibiting  frequently  at  the  gallery  until  his  death. 
Among  the  ^Detter  known  of  his  works,  which  are  still  very  popular  in 
his  native  country,  are,  “A  Deer  Forest  in  Skye,”  “ My  Heart ’s  in  the 
Highlands,”  “ Old  Bridge  over  the  Avon,  near  Hamilton,”  “ Druidical 
Stones  by  Moonlight,”  and  many  other  views  of  Scottish  scenery. 

MacDonald,  James  Wilson  Alexander.  {Am.)  Born  at  Steu- 
benville, Ohio.  He  early  developed  a taste  for  art,  drawing  carica- 
tures of  some  merit  while  still  a school-boy.  In  1840  he  saw,  for  the 
first  time,  a bust  in  plaster,  that  of  General  Washington,  his  admira- 
tion and  study  of  which  led  him  to  resolve  to  become  a sculptor.  In 
1844  be  settled  in  St.  Louis,  spending  his  days  in  a business  house 
and  his  nights  in  the  study  of  art.  Here  he  received  encouragement 
and  some  instruction  from  Alfred  Waugh,  an  artist  of  that  city.  He 
made  his  first  bust  in  1846,  a portrait  of  his  business  partner,  in 
clay.  Later,  he  studied  anatomy  under  Professor  McDowell.  He 
went  to  New  York  in  1849,  where  he  studied  one  year.  In  1854 
he  executed  his  first  work  in  marble,  a bust  of  Thomas  H.  Benton, 
said  to  have  been  the  first  likeness  in  marble,  cut  from  life,  west 
of  the  Mississippi.  Later,  he  made  his  first  ideal  work,  a bust  of 
Joan  of  Arc,  followed  by  a full-length  figure,  called  “Italia.”  In 
1865  he  settled  permanently  in  New  York.  Among  his  busts  are 
those  of  Charles  O’Conor,  ordered  by  the  New  York  Bar  and  pre- 
sented to  the  Supreme  Court  of  the  State  ; of  John  Van  Buren ; of 
James  T.  Brady  (posthumous),  in  the  New  York  Law  Library  ; and 
many  more.  He  is  the  possessor  of  Houdin’s  original  model  of  Wash- 
ington, from  which  he  has  made  a heroic-sized  bust  in  bronze,  re- 
peated several  times.  His  colossal  head  of  Washington  Irving  is  in 
Prospect  Park,  Brooklyn  ; his  colossal  bronze  statue  of  Edward  Bates, 
in  Forest  Park,  St.  Louis,  was  unveiled  in  1876  ; the  statue  of  Fitz- 
Greene  HaUeck,  in  Central  Park,  New  York,  was  unveiled  in  1877  by 
President  Hayes  ; his  colossal  equestrian  statue  of  Gen.  Nathaniel 
Lyon  is  now  in  the  bronze  foundry  (1878).  At  present  he  is  engaged 
on  the  statue  of  General  Custer,  a figure  eight  feet  high,  said  to  be  his 
best  work,  and  to  be  erected  at  the  Military  Academy  of  West  Point. 
He  has  also  at  his  studio  models  for  busts  of  William  C.  Bryant, 
Peter  Cooper,  and  Thurlow  Weed.  Mr.  MacDonald  has  also  painted 
portraits  and  landscapes  in  oil,  and  has  written  analytical  criticisms  on 
some  of  the  most  important  American  artists,  besides  lecturing  upon 
4 * F 


82  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


artistic  and  scientific  subjects,  especially  those  connected  with  the 
proportions  of  the  human  form  and  “ artistic  anatomy.” 

MacDowell,  Patrick,  K.  A.  {Brit.)  Born  at  Belfast  (1799- 
1871).  In  1811  he  went  to  London  with  his  mother,  where  he  was 
apprenticed  to  a coach-builder  for  some  years.  About  1815  fortime 
j)laced  him  as  a lodger  in  the  house  of  a French  sculptor,  where  he 
turned  his  natural  artistic  talents  to  pleasant  account,  and  began  his 
art  career  by  the  modeling  of  small  original  figures  in  clay,  which 
met  with  a ready  sale.  Later,  he  modeled  portrait  busts  and  ideal 
figures  of  a larger  size  ; the  first  of  the  latter  to  attract  attention 
being  Moore’s  “ Loves  of  the  Angels.”  This  was  followed  by  a Scene 
from  Ovid,”  “ Bacchus  and  a Satyr,”  and  a “ Girl  Reading,”  which 
was  at  the  Royal  Academy  in  1837,  and  subsequently  e.xecuted  in 
marble.  In  1841,  when  he  was  elected  Associate  of  the  Royal  Acad- 
emy, he  exhibited  “ Girl  going  to  Bathe  ” ; in  1842,  “ Girl  at 
Prayer”  ; in  1845  (when  he  was  raised  to  the  rank  of  Academician) 
he  sent  “ Cupid  ” ; in  1850,  “ Virginius  and  his  Daughter  ” ; in  1851, 
“ Psyche”  ; in  1858,  “ Day-Dreams  ” ; in  1865,  “ Eve  ” ; and  “ The 
Young  Mother,”  in  1867.  Among  the  statues  executed  by  Mac- 
Dowell are  Viscount  Exmouth  at  Greenwich  Hospital,  Earl  of  Bel- 
fast (in  bronze)  at  Belfast,  Earl  of  Chatham  in  the  House  of  Parlia- 
ment, and  busts  of  Lord  Dufferin  and  others. 

Macdowell,  Susan  Hannah.  (Am.)  Bom  in  Philadelphia, 
1851.  Received  her  art  education  in  the  Pennsylvania  Academy  of 
Eine  Arts,  and  under  the  instruction  of  Prof.  C.  Schusselle  and 
Thomas  Eakins.  Her  pictures,  which  are  portraits,  composition  por- 
traits, and  animals,  have  been  exhibited,  and  are  generally  owned  in 
Philadtdphia,  where  her  professional  life  so  far  has  been  spent. 

MacLeay,  Kenneth.  {Brit.)  Died,  1878.  A native  of  the  High- 
lands of  Scothiud,  he  was  educated  in  Edinburgh,  and  spent  the  greater 
part  of  his  professional  life  in  that  city.  He  was  for  many  yenrs  a 
member  of  the  Royal  Scottish  Academy,  and  at  the  time  of  his  death  a 
Trustee  and  Auditor  of  that  Institution.  In  his  early  days,  and  un- 
til the  introduction  of  the  photograph,  he  w’as  very  successful  and  very 
popular  in  Scotland  as  a miniature-painter,  numbering  many  of  his 
distinguished  countrj’men  among  his  subjects.  He  painted  in  water- 
color  for  the  Queen  a large  series  of  portraits  of  the  different  High- 
land clansmen  in  full  costume,  which  attracted  much  attention  when 
exhibited.  To  the  exhibitions  of  the  Royal  Scottish  Academy,  in  late 
j'ears,  he  occasionally  contributed  miniatures  and  landscapes. 

Maclise,  Daniel,  R.  A.  {Brit.)  Born  in  Cork,  Ireland  (1811-1870). 
Was  for  a time  a bank  clerk  in  his  native  city,  but  began  painting  as 
a profession  in  1827,  studying  in  the  Cork  School  of  Art.  In  1928 
he  entered  the  Royal  Academy,  winning,  in  due  course,  all  its 
medals  for  proficiency  in  the  different  branches.  He  went  to  Paris 
in  1830.  He  first  exhibited  at  the  Roj'al  Academy,  in  1832,  “Puck 


ARTISTS  OF  TEE  NINETEENTH  CENTURY.  83 


disenchanting  Bottom”;  in  1833,  “All  Hallow  Eve”;  in  1834, 
“ Captain  Rock,”  and  in  1835,  “The  Vow  of  the  Ladies  and  the  Pea- 
cock,” when  he  was  elected  Associate  of  the  Academy.  In  1836  he 
exhibited  “ Macbeth  and  the  Witches  ” ; in  1840,  when  he  was  elected 
Academician,  he  painted  “ Merrie  Christmas  in  the  Baron’s  Hall  ” 
and  “ Malvolio  and  the  Countess.”  Besides  his  genre  painting's,  in 
which  his  subjects  were  taken  from  “ Gil  Bias,”  the  “ Vicar  of  Wake- 
field,” Scott’s  novels,  etc.,  and  in  which  his  success  was  decided,  he 
devoted  himself  to  portraiture  and  historical  painting.  His  “ Death 
of  Nelson  at  Trafalgar”  and  “ Meeting  of  Wellington  and  Blucher  at 
Waterloo  ” (the  latter  45  feet  by  13  feet)  hang  in  the  Royal  Gallery 
of  the  New  Houses  of  Parliament,  and  through  the  medium  of  en- 
graving are  familiar  on  both  sides  of  the  Atlantic.  His  “ Play  Scene 
from  Hamlet  ” and  “ Malvolio  and  the  Countess  ” are  in  the  National 
Gallery,  London.  His  “ Scene  from  Midas,”  one  of  his  earlier  works, 
belongs  to  the  Queen.  He  was  not  a frequent  exhibitor  at  the  Royal 
Academy  in  his  later  years.  He  sent,  however,  in  1866,  “ Here 
Nelson  fell  ” and  “ Dr.  Quain  ” ; in  1867,  “ A Winter  Night’s  Tale  ” 
and  “ Othello,  Desdemona,  and  Emilia  ” ; in  1868,  “ The  Sleep  of 
Duncan”  and  “Madeline  after  Prayer”  ; in  1869,  “King  Cophetua 
and  the  Beggar-Maid  ” ; and  in  1870,  “ The  Earls  of  Desmond  and 
Ormond,”  his  last  exhibited  work.  He  was  Foreign  Member  of  the 
Royal  Academy  of  Arts  in  Stockholm. 

“ Of  Maclise’s  genius  in  his  chosen  art  I will  venture  to  say  nothing  here,  but  of  his  fer- 
tility of  mind  and  wealth  of  intellect  I may  confidently  assert  that  they  would  have  made 
him,  if  he  had  been  so  minded,  at  least  as  great  a writer  as  he  was  a painter.  ....  His 
was  only  the  common  fate  of  Englishmen,  and  when  the  real  story  of  the  fresco-paint- 
ing of  the  Houses  of  Par'liament  comes  to  be  written,  it  will  be  anotlier  chapter  adderl 
to  onr  national  misadventures  and  reproaches  in  everything  connected  with  art  and  its 
hapless  cultivators.”  — Forster’s  Li/e  of  Dickens,  Vol.  III.  Chap.  XX. 

“ May  21s«,  18.35.  — Accompanied  Mr.  Fomter  to  Mr.  Maclise’s  lodgings,  — found  him  a 
young,  prepossessing,  intelligent  man,  anxious  to  paint  my  picture.  Saw  his  large  one 
of  ‘ Captain  Rock,’  and  several  smaller  of  great  merit.  Agreed  to  sit  to  him 

“March  21st,  1840.  — Called  on  Maclise,  and  saw  again  his  gi-and  picture  of  ‘ Macbeth.’ 
The  figure  of  Lady  Macbeth,  which  I had  not  seen  before,  I thought  the  ideal  of  the 
character.  It  is  a noble  conception.  His  picture  of  Olivia  I can  look  at  forever  ; it  is 
beauty,  moral  and  physical,  personified.’’  — Macready’s  Diary  and  Reminiscences. 

“ Young  Maclise  studied  not  only  in  his  profession  in  galleries  and  studios,  but  for  it 
in  anatomical  schools,  and  even  in  dissecting-rooms  ; and  likewise  in  libraries  he  made 

himself  thoroughly  acquainted  with  the  history  of  art  and  artists The  artist  who 

painted  ‘ Malvolio  smiling  on  Olivia ' and  the  ‘ Banquet  Scene  in  Macbeth  ’ has  conde- 
scended to  lend  his  talents  to  the  illustration  of  magazines  and  annuals."  — Memoirs  of 
the  Countess  of  Blessington. 

“Maclise  was  a man  of  undoubted  original  genius,  and  of  an  earnest  and  laborious 

life He  is  said  to  have  been  very  far-sighted,  and  to  have  prided  himself  on 

drawing  remote  objects  with  a clearness  impossible  to  more  restricted  eyes.  His  power 
as  a draughtsman  greatly  excelled  his  power  as  a colorist.”  — Mrs.  Tytler’s  Modem 
Painters. 

Mac  Nee,  Sir  Daniel.  (Brit.)  Born  near  Stirling,  1805.  Educated 
at  tbe  Trustees  Academy  in  Edinburgh  under  Sir  W.  Allan.  He 


84  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


turned  his  attention  particularly  to  portrait-painting,  exhibiting  regu- 
larly at  the  Royal  Scottish  Academy  and  at  the  Royal  Academy  in 
London,  having  for  his  subjects  many  of  the  most  distinguished  of  his 
countrymen,  among  others.  Lord  Brougham  (in  the  Parliament  House, 
Edinburgh),  Viscount  Melville,  Norman  McLeod,  Marquis  of  Lome, 
Duke  of  Buccleuch,  Hugh  Blair,  etc.  For  many  years  he  was  a resi- 
dent of  Glasgow.  He  is  a member  of  the  Royal  Scottish  Academy, 
was  elected  its  President  in  1876,  and  was  knighted  by  the  Queen  the 
same  year. 

Macy,  W.  S.  (Am.)  He  has  lived  in  Munich  about  four  years, 
studying  under  Velten.  To  the  National  Academy,  New  York,  in 

1877,  he  sent  “Lake  Stanberg,”  “Early  Winter,”  etc.;  in  1878, 
“Hurrying  up  before  the  Rain  ” and  “ At  the  Ford.”  To  the  first 
Exhibition  of  the  Society  of  American  Artists,  in  1878,  he  contributed 
“ Forest  Scene  in  Bavaria.”  His  “ Meadows  near  Munich  ” and 
“Autumn,  Royal  Park,  Munich”  were  at  the  Mechanics’  Fair  Exhi- 
bition, Boston,  in  1878.  To  the  Paris  Salon  of  1878  he  sent  “ Near 
Munich.” 

[No  response  to  circular.] 

Madou,  Jean  Baptiste.  (Belgian.)  Bom  at  Brussels  (1796-1877). 
Chevalier  of  the  Legion  of  Honor,  and  of  the  Order  of  Lfopold.  Mem- 
ber of  the  Academies  of  Brussels  and  Antwerp.  Professor  of  Drawing 
in  the  Military  School  of  Brussels.  Pupil  of  Francois,  and  the  Brus- 
sels Academy  of  Art.  In  1814  Madou  was  compelled  to  go  into  busi- 
ness, but  in  1818  he  resumed  his  art  studies.  He  was  employed  by 
government  in  making  maps,  but  in  1820,  when  lithography  was  in- 
troduced into  Belgium,  he  devoted  himself  to  that  art,  and  in  the  next 
twenty  years  executed  an  immense  amount  of  work  in  this  department ; 
“ Picturesque  Views  in  Belgium  ” (202  jdates),  “ Scenes  in  the  Life  of 
Napoleon  ”(  144  plates),  “ Souvenirs  of  Brussels”  (12  plates),  “ Mili- 
tary Costumes,”  “ Scenes  of  Society,”  etc.  Of  course  this  work  was  a 
preparation  for  his  subsequent  painting.  His  subjects  are  pure  genre, 
and  are  not  numerous,  which  adds  to  their  value.  Among  them  are, 
“ The  Sketch,”  “Jan  Steen  and  his  Friends,”  “The  Stirrup  Cup,” 
“ The  Young  Squire  of  the  Village,”  “ The  Artist’s  Amusement  at  an 
Inn,”  “ The  Bandit,”  etc.  At  the  Oppenheim  sale,  London,  1864,  “ La 
dame  k la  ferme”  brought  260  guineas.  At  a sale  in  London,  1874, 
“Reading  the  Gazette  ” sold  for  £892.  At  the  Latham  sale.  New 
York,  1878,  “Interior  of  a Flemish  Cabaret”  (18  by  23)  sold  for 
$ 1,400.  Several  of  his  works  were  sent  to  the  Paris  Exposition  of 

1878. 

“ He  unquestionably  stands  at  the  head  of  the  genre  painters  of  Belgium  ; his  works, 
whether  in  lithography,  in  water-colors,  or  in  oils,  show  a power  of  composition,  a 
truthfulness,  and  a delicacy  of  touch,  combined  with  solidity,  that  will  bear  comparison 
with  the  best  that  have  come  down  to  us  from  the  old  painters  of  the  Dutch  and  Flemish 
schools.”  — Art  Jotirtialf  February,  1S66. 


ARTISTS  OF  THE  NINETEENTH  CENTURY. 


85 


' Madrazo,  Don  Frederic  Madrazo  Y Kunt.  (Span.)  Born  at 
Madrid,  according  to  the  catalogue  of  the  Salons.  Vapereau  says  that  he 
was  born  at  Rome,  and  baptized  at  St.  Peter’s.  Officer  of  the  Legion  of 
Honor.  He  received  his  earliest  instructions  from  his  father,  Jose 
Madrazo,  and  studied  later  at  Paris  under  Winterhalter.  Madrazo  is 
court  painter  at  Madrid,  and  in  1835  he  established  there  an  artistic 
Review.  Among  his  historical  portraits  are  those  of  “ Godfrey  de 
Bouillon,”  the  same  “when  proclaimed  King  of  Jerusalem”  (at  Ver- 
sailles), “ Marie-Christine  in  the  dress  of  a Religieuse  at  the  Bed  of 
Ferdinand  VII.,”  “ Queen  Isabella,”  “The  Duchess  of  Medina-Coeli,” 
and  others.  His  portraits  of  the  Spanish  aristocracy  are  far  too  nu- 
merous to  mention.  He  has  sometimes  exhibited  his  pictures  at  the 
Royal  Academy,  London.  His  portrait  of  Fortuny,  who  was  his  son- 
in-law,  was  much  admired  at  the  Paris  Exposition  of  1878,  where  he 
also  exhibited  three  other  fine  portraits. 

Madrazo,  Louis.  (Span.)  Brother  of  the  above,  and  also  a pupil 
of  his  father.  At  the  School  of  Fine  Arts  of  Madrid  he  took  the  grand 
prize  in  1848.  His  “Burial  of  St.  Cecilia,”  belonging  to  the  Museum 
of  Madrid,  received  honorable  mention  at  Paris  in  1855. 

Madrazo,  Ricardo.  (Span.)  Pupil  of  his  father.  At  the  John- 
ston sale.  New  York,  in  1876,  “ The  Interior  of  Santa  Maria  at  Rome” 
(23  by  39)  sold  for  $4,600.  At  the  Paris  Salon  of  1878  he  exhibited 
“A  Well  near  Venice.” 

Magaud,  Dominique  Antoine.  (Fr.)  Born  at  Marseilles,  1817. 
Two  medals  at  Paris,  and  numerous  others  at  the  Provincial  Exposi- 
tions. Member  of  the  Academy  of  Marseilles  and  Director  of  I’Ecole 
des  Beau.x-Arts  of  that  city.  Correspondent  of  the  Institute  since 
1874.  Pupil  of  the  Art  School  of  Marseilles  and  of  Leon  Cogniet. 
His  works  are  very  numerous,  many  of  them  being  in  the  public  gal- 
leries and  edifices  of  his  native  city.  At  the  Salon  of  1878  he  exhib- 
ited a picture  called  “ War.” 

Magni,  Pietro.  (Ital.)  Born  at  Milan  (1816-1877).  In  his 
death  Italy  has  lost  one  of  her  greatest  artists.  Among  his  principal 
works  are,  “ Angelica  Bound,”  “ Sappho,”  “ Reading  Girl,”  and  a 
Napoleon  I.  The  monument  to  Leonardo  da  Vinci,  in  the  Piazza 
della  Scala,  Milan,  was  erected  in  1872,  and  is  a fine  work;  the  Fon- 
tane  della  Nabresina  at  Trieste  is  also  much  admired;  his  large  group 
of  the  “ Opening  of  the  Suez  Canal  ” is  grand ; and  his  latest  works,  a 
statue  of  “ Oristides  ” and  an  ideal  figure  called  “ Complacency,”  were 
intended  for  the  Exposition  of  this  year  (1878)  at  Paris;  the  last  was 
seen  there. 

Magnus,  Eduard.  (Ger.)  Born  at  Berlin  (1799-1872).  Member 
and  Professor  of  the  Academy  of  Berlin.  Medal  at  Paris  in  1855. 
Pupil  of  Schlesinger.  He  traveled  in  France  and  Italy.  His  early 
pictures  of  the  “ Return  of  the  Pirate  ” and  “ The  Blessing  of  the 
Grandson  ” brought  him  good  reputation.  At  the  National  GaUery, 


86  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Berlin,  are  the  “ Eeturn  of  the  Fisherman”  and  a “ Study  of  Female 
Heads.”  His  pictures  are  of  genre  subjects  and  portraits. 

Magrath,  William,  N.  A.  (Am.)  Has  occupied  a studio  in  New 
York  for  many  years.  Devotes  himself  to  landscapes  and  figure- 
pieces,  generally  of  Irish  peasant  life.  He  was  an  early  member  of 
the  American  Society  of  Painters  in  Water-Colors,  and  was  elected 
Associate  of  the  National  Academy  in  1874,  and  Academician  in  1876. 
He  exhibited,  in  1869,  “ Irish  Peasantry  returning  from  the  Fair”;  in 
1870,  “ The  Road  to  Kenmair ” ; in  1871,  “The  Reveille”;  in  1873, 
“The  Empty  Flagon”;  in  1874,  “Reveries”  and  “Faltering  Foot- 
steps”; in  1876,  “Rustic  Courtship”  (belonging  to  Robert  Gordon) 
and  “ Contentment  ”;  in  1877,  “ Girl  Spinning  ” and  “ Paddy’s  Pets  ”; 
in  1878,  “ Adirondack  Slopes  ” and  “ A Golden  Prospect  all  in  oils. 
In  water-colors  he  has  exhibited  “ Out  of  the  Gloom,”  “ The  Wilds  of 
Connemara,”  “ No  Place  like  Home,”  “ The  Dairy-Maid,”  “ The  Fish- 
erman’s Daughter,”  “ Irish  Interior, — Girl  winding  Yarn,”  “ Gatliering 
Kelp,”  “ On  the  Threshold,”  etc.  To  the  Exhibition  at  Philadelphia, 
in  1876,  he  sent,  in  water-colors,  “ Mussel-Gatherers  ” (belonging  to 
Robert  Gordon),  “Nora”  (belonging  to  J.  T.  Williams),  “An  Irish 
Thatched  Cottage,”  and  “ On  the  Hdlside.” 

[No  response  to  circular.] 

Maignan,  Albert.  {Fr.)  Bom  at  Beaumont.  Pupil  of  J.  Noel 
and  Luniinais.  At  Philadelphia  he  exhibited  “ Helen  at  the  Foun- 
tain ” and  “ The  Sentinel,”  and  received  a medal.  At  the  Paris  Salon 
of  1877  were  his  “ Frederic  Barbarossa  at  the  Feet  of  the  Pope  ” and 
a portrait  of  Mine.  F.  At  the  Luxembourg  is  his  “Departure  of 
the  Norman  Fleet  for  the  Conquest  of  England  ” (1874).  At  the 
Salon  of  1878  he  exhibited  “ Louis  IX.  consoling  a Leper  ” and  “ The 
Admiral  Carlo  Zeno.” 

Maillet,  Jacques  Leonard.  (Fr.)  Born  at  Paris,  about  1827. 
Chevalier  of  the  Legion  of  Honor,  and  of  the  Order  of  Leopold. 
Pupil  of  r Ecole  des  Beaux-Arts  and  of  Feuchere  and  Pradier.  "When 
twenty-four  years  old  he  went  to  Rome,  having  gained  the  jprix  do 
Rome.  At  the  Luxembourg  are  his  “ Agrippina  and  Caligula,  ’ sent 
from  Rome  in  1853 ; also  “Agrippina  bearing  the  Ashes  of  Germanicus  ” 
(1861).  His  works  may  be  seen  at  the  Louvre,  the  Tnileries,  and 
several  churches  of  Paris,  while  his  funeral  momunents,  his  graceful 
figures,  and  charming  groups  are  in  many  places.  At  the  Salon  of 
1877  he  exhibited  “ Caisar,”  a plaster  group,  and  a portrait  bust  in 
marble;  at  the  Salon  of  1876,  “ Love  and  a Satyr  ” (plaster)  and  “ Eury- 
dice,”  statuette  in  terra-cotta;  in  1878,  terra-cotta  statuettes  of  young 
women  of  Syracuse  and  Corinth. 

IVlaindron,  Etienne-Hippolyte.  (Fr.)  Born  at  Champtoceau, 
1801.  Chevalier  of  the  Legion  of  Honor.  Pupil  of  David  d’Angers. 
His  “ Velleda  ” of  1839  was  placed  in  the  garden  of  tlie  Luxembourg, 
and  a repetition  of  it  in  1855  was  placed  in  the  Gallery  of  the  Luxem- 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  87 


bouig.  “ Sainte  Genevieve  disarming  Attila  ” is  in  the  church  of  that 
saint  at  Paris  (Pantheon).  At  the  Cathedral  of  Sens  are  thirty-two 
statues  and  figures,  and  a colossal  “ Christ.”  A bas-relief  is  at  the 
Cathedral  of  Rheims  ; a “Saint  Gregory  of  Valois,”  afthe  Made- 
leine ; etc.  At  the  Salon  of  1874,  the  year  in  which  he  was  decorated, 
he  exhibited  a marble  statue  called  “ France  Resigned,”  and  in  1878, 
two  marble  busts. 

Maisiat,  Joanny.  (FV.)  Born  at  Lyons.  Medals  in  1864,  ’67, 
and  ’72.  Pupil  of  I’Ecole  des  Beaux- Arts  of  Lyons.  At  the  Salon  of 
1877  he  exhibited  “ The  Washerwomen  of  Vignely  ” and  “ A Branch 
of  Plums”  ; in  1876,  “On  the  Banks  of  the  Marne”  ; in  1875,  “A 
Basket  of  Peaches  and  Raisins,”  “ Red  and  White  Roses,”  etc.  Two 
of  his  pictures  are  in  the  Luxembourg. 

Makart,  Hans,  (ffer.)  Born  at  Salzbourg,  1840.  Professor  at 
Vienna.  Member  of  the  Munich  Academy.  Medal  at  Philadelphia. 
Studied  at  Munich,  in  the  school  of  Piloty.  He  has  been  frequently 
in  Italy,  and  sent  a picture  of  “ Roman  Ruins  ” to  the  Exposition  of 
1867  at  Paris.  At  Vienna,  where  he  settled,  he  has  a large  studio, 
and  here  commenced  his  first  historical  picture,  “ Catherine  Cornaro,” 
now  at  the  Berlin  National  Gallery,  for  which  50,000  marks  was  paid 
(.£2,500).  The  reputation  of  this  artist  dates  from  about  1868.  At 
the  International  Exposition  at  Munich  in  1869,  he  exhibited  “ L’Es- 
quisse.”  Among  his  earlier  works  are,  “ The  Seven  Capital  Sins,” 
“ The  Pest  at  Florence,”  “ The  Dream  of  a Man  of  Pleasure,”  and 
“ Nymphs  coming  to  touch  the  Lute  of  a Sleeping  Singer.”  His 
“Romeo  by  the  Body  of  Juliet”  is  at  the  Belvedere  in  Vienna. 
Among  his  other  works  are,  “ Leda,”  Modern  Cupids,”  “ Cleopatra,” 
“ Entrance  of  the  young  Emperor  Charles  V.  into  Antwerp,”  and 
“ The  Gifts  of  Sea  and  Earth.”  A portrait  by  this  artist,  belonging 
to  E.  B.  Haskell,  was  exhibited  at  the  Mechanics’  Fair,  Boston,  1878. 
His  “ Entrance  of  Charles  V.  into  Antwerp  ” and  two  portraits  were 
seen  at  the  Paris  Exposition  of  1878. 

“Makart  is  tlie  Richard  Wagner  (some  say  Offeiibacli ) of  German  painting.  His  repu- 
tation dates  hack  but  a year,  and  already  he  lias  enthusiastic  partisans  and  detractors. 

I have  seen  four  works  of  his It  would  be  presumptuous  to  attempt  to  form  a 

definite  judgment  of  this  artist  after  four  works,  following  each  other  so  nearly,  but  it  i.s 
allowable  to  seek  in  these  works  the  elements  of  which  his  system  and  his  success  are 
composed.  The  ‘ Nymphs,’  of  the  Schack  Gallery,  1866,  have  taught  the  public  and  the 
artist  himself  that  he  was  incapable  of  drawing  or  painting  grand  figures.  ‘ The  Sketch,’ 
of  the  present  Exposition  linternatioiial  Exposition  of  Munich,  1869],  confirms  this  obser- 
vation ; more,  it  extends  it  to  the  figures  of  smaller  dimensions.  The  torsos,  the  arms, 
the  legs,  are  equally  incorrect,  and  as  for  the  hands,  the  artist  has  almost  spirited  them 
away  in  order  to  conceal  his  want  of  anatomic  science.  These  experiences  have  clearly 
shown  the  author  that  he  cannot  succeed  in  grand  painting.  He  has  bravely  chosen  his 
part  upon  this  conviction.  Renouncing  the  manners  of  the  vulgar,  he  has  sought  a kind 
of  genre,  which  demands  neither  a knowledge  of  drawing  nor  of  painting,  but  uniquely  a 
sort  of  general  taste  for  the  association  of  colors ; and  this  genre  he  has  found.  The 
‘ Sketch  ’ exhibited  helps  us  to  put  our  finger  on  ail  the  resorts  of  this  knowing  and  in- 
genious mechanism  which  he  has  imagined.  An  architectural  framing,  in  the  form  of  a 


88  ARTISTS  OF  THE  NINETEENTH  CENTURY, 


buffet,  closed  in  three  compartments  ; a circle  of  women  and  a triumphal  cortege,  the  hero- 
ines of  which  form  some  very  picturesque  groups  ; various  emblems,  scientific  or  artistic 
instruments,  utensils  of  the  menage,  etc.,  are  painted  on  the  different  parts  of  the  buffet, 
and  testify  to  a remarkable  understanding  of  the  laws  of  decoration.  The  golden  tone 
on  which  the  figures  are  shown,  the  brown  tone  of  the  branches  and  the  flowers,  and  tlie 
tone,  sometimes  red  and  again  white,  of  the  flesh  parts,  make  a marvelous  harmony, 
of  a dazzling  richness  and  a musical  charm,  — the  assemblage  offers  all  the  poesy  of  au- 
tumn and  the  falling  leaves.  Evidently  "Makart  has  his  palette  to  himself,  and  has 
imitated  no  one.  lie  has  discovered  a precious  vein.  "Will  he  be  able  to  explore  it? 
Has  he  stuff  enough  in  him  to  make  fruitful  and  to  ripen  the  germs  of  the  first  attempts, 
or  will  he  be  blinded  by  his  first  success,  and  believe  that  he  has  arrived  at  the  end  ? . . . . 
The  forms  of  these  heroines  who  fluctuate  betw’een  the  softness  of  childhood  and  the 
rouiidness  of  ripened  age,  the  forbidding  expression  of  the  heads,  authorize  but  too  well 
the  reproach  of  immorality  which  has  been  addressed  to  this  art.  Not  only  does  3Iakart 
debase  the  human  body  to  the  role  of  simple  ornament,  but  he  accords  to  it  no  more  im- 
I)ortance  than  to  the  hangings  and  the  flowers  ; more  than  this,  he  changes  it,  and  gives 
it  a dull  and  cadaverous  tint  to  make  it  set  off  the  golden  or  purple  tones.  This  painting 
is  then  unhealthy  in  w’hatever  point  of  view  it  is  put,  and  it  must  be  condemned,  let  the 
skillfulness  of  the  author  and  his  conviction  regarding  his  system  be  what  it  may.”  — 
EuciiNE  Muntz,  Gazette  des  Beaux- Arts,  October,  1S69. 

“ Makart  reminds  us  of  certain  virtuosos  who  know  everything,  but  cannot  command 
the  technique  to  express  themselves.  Nevertheless,  we  must  constantly  speak  of  his 
brilliant  endowment ; we  appreciate  it,  but  deplore  the  want  of  an  elementary  training, 
the  absence  of  a strong,  comprehensive  design.  Flowing  verses,  rich  rhymes,  make  a 
poem  : what  worth,  however,  has  the  most  charming  poem  without  that  more  lovely 
element  which  Schiller  calls  the  beautiful  soul?  Makart’s  color  is  brilliant,  satisfying, 
melting ; shall  we  ever  be  able  to  give  the  same  praise  to  his  conception  and  drawing?  ’ 
— Eugen  Obermayer,  Zeitschri/t  fiir  bildende  Kunst,  1871. 

“ Taken  as  a whole,  and  with  due  acknowledgment  of  the  courage  needed  for  such  an 
attempt,  and  the  talent  with  which  it  has  been  conducted,  the  picture  seems  to  me  a 
recall  of  the  manner  and  the  artifice,  rather  than  the  essence,  of  the  style  it  affects. 
What  was  theatric  and  grandiose  in  the  art  of  Veronese  has  passed  into  the  art  of  Herr 
Makart,  but  the  simplicity  that  made  the  earlier  splendor  credible  has  fled.  The  labori- 
ous invention  of  costume,  the  genuine  charm  of  color,  do  not  suffice  to  take  from  the 
work  its  incurable  artificiality.  The  painter  has  attempted  to  reproduce  there  elements 
of  an  epoch  that  cannot  sunMve.  He  has  let  go  the  permanent  truth  that  was  in  his 
master,  and  has  been  content  to  invent  what  Veronese  imitated  : and  thus  the  work  is. 
in  the  true  sense  of  the  term,  theatric,  for  it  seeks  for  the  kind  of  illusion  that  Ls  desired 

on  the  stage But  although  the  work  of  Herr  Makart  seems  to  me  so  far  in  its 

essence  a failure,  it  nevertheless  desen'es  consideration  for  the  brilliant  technical  quali- 
ties it  displays.  There  are  few  paintera  of  the  present  day  who  have  enough  daring  to 
handle  such  vast  material,  to  dispose  fearlessly  and  with  proper  relation  so  large  a num- 
ber of  figures  ; and  there  are  still  fewer  who  possess  the  skill  in  execution  which  renders 
Herr  Jlakart's  picture  a surprising,  and  in  some  sense,  admirable  performance. 

J.  AV.  CoMYNS  Carr  (critique  upon  " The  Nobles  of  Venice  paying  Homage  to  Catherine 
Comaro  ”),  The  Portfolio,  February,  1875. 

“ Herr  Makart.  by  birth  Austrian,  but  trained  under  Piloty,  is  imbued  with  the  ro- 
mance and  voluiduousness  of  Venezia.  He  is,  in  fact,  theAeronese  of  A ienna.  It  is 
more  than  doubtful  il'  Paul  A^eronese  had  not  enthroned  * A'enice  cro^smed  by  Glor>-.’ 
whether  Herr  Makart  would  have  ever  painted  * A’enice  doing  Homage  to  Catarina  Cor- 
naro,'  a grandiose  composition,  which,  when  displayed  in  London,  was  looked  upon  less 
as  grave  history  than  as  phantasmagoria.  The  painter,  as  seen  in  the  great  Exhibition 
of  Paris,  becomes  still  more  formless  and  florid  when  he  emblazons  the  festive  Entry 
of  Charles  V.  into  Antwerp.’  It  may  be  feared  that  this  triumphant  artist  is  hurrying 
to  his  fall.  No  amount  of  genius  can  pardon  ill  drawing,  or  excuse  an  execution  which 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  89 


from  bravura  passes  into  effrontery.  Herr  Makart  is  one  of  those  sensuous  painters, 
nowadays  becoming  numerous  in  great  cities,  who,  cariying  to  fruition  the  desires  of 
luxurious  living,  decorate  their  studios  up  to  the  high  jiitch  of  their  pictures.  The  door 
opens,  and  at  once  it  is  seen  that  the  former  austerity  of  German  manners  has  given 
place  to  the  allurements  now  permitted  in  the  ‘ Paris  of  Eastern  Europe.’  ” — J.  Beav- 
INGTON  Atkinson,  The  Portfolio,  1S78. 

Malchin,  Karl  Wilhelm  Christian.  (Ger.)  Bom  at  Kropelin, 
1838.  Pui3il  of  the  Art  School  at  Weimar  under  Professor  Hagen. 
Since  1874  he  has  traveled  considerably,  and  paints  and  etches.  At 
the  Berlin  National  Gallery  is  his  “ Northern  German  Landscape 
with  Sheep  ” (1877). 

Mancinelli,  Giuseppe.  (Ital.)  Born  at  Naples  (1813-1875). 
Member  of  many  academies.  He  received  also  many  honors.  He 
gained  the  stipend  with  which  to  go  to  Rome  at  the  Academy  of 
Naples.  In  1850  he  won  the  position  of  Professor  in  the  Academy 
of  Naples,  in  a concours,  by  his  cartoon  of  “ Jacob  blessing  his  Chil- 
dren.” Among  his  best  works  are,  “ St.  Carlo  Borromeo,”  for  the 
church  of  St.  Carlo  all’  Arena  ; a “ St.  Francesco  di  Paolo,”  for  Ferdi- 
nand II.  ; a “ Madonna  degli  Angeli,”  for  the  church  of  Tripoli  ; a 
“ Christ  in  the  Garden,”  for  a church  at  Syracuse  ; a “ St.  Clara,” 
for  the  Cathedral  of  Spoleto  ; and  a “ Death  of  St.  Augustine,”  at 
Piedigrotta. 

Mancini,  Antoine.  {Ital.)  Bom  at  Naples.  Pupil  of  Lista  and 
Morelli.  At  the  Paris  Salon  of  1877  he  exhibited  “ The  Little  Moun- 
tebank”; in  1876,  “The  Little  Scholar,”  belonging  to  Landelle. 
His  picture  of  “ Tired  Out”  brought  $ 210,  at  the  Cottier  sale.  New 
York,  1878.  At  the  Salon  of  1878  he  exhibited  “ The  Fete  of  St. 
Januarius  at  Naples.”  Several  of  his  works  were  seen  at  the  Paris 
Exposition  of  1878. 

Manet,  Edouard.  {Fr.)  Born  at  Paris,  1833.  In  spite  of  his 
love  for  art,  his  family  were  determined  that  he  should  not  be  an 
artist,  and  when  seventeen  he  was  forced  by  them  to  go  to  Rio 
Janeiro  ; after  this  voyage  he  visited  Italy  and  Holland,  and  finally 
entered  the  atelier  of  Couture,  where  he  remained  six  years.  In  1860 
he  painted  the  “ Man  drinking  Absinthe.”  For  several  years  his 
works  were  refused  at  the  Salons.  He  exhibited  his  “ Breakfast  on 
the  Grass”  (which  Vapereau  says  “united,  pell-mell,  nudities  and 
modern  costumes  ”)  at  the  Salon  of  refused  pictures,  and  at  length,  in 
1867,  made  an  exhibition  of  his  works  alone.  By  this  means  he  was 
placed  before  the  public,  and  was  discussed  and  rediscussed  most 
vigorously.  M.  Emile  Zola  published  an  elaborate  biography,  study, 
and  critique  of  Manet,  and  praised  him  much.  The  following  works 
are  good  examples  of  his  stjde  ; “ The  Dead  Man,”  “ Child  with  a 
Sword,”  “Olympia,”  “A  Young  Lady”  (1868),  and  “The  Spanish 
Ballet.”  Manet  is  also  an  etcher,  and  has  made  plates  of  “ La  Vierge 
au  lapin,”  of  Titian,  “ Portrait  of  Tintoretto,”  by  himself,  and 
“Les  petits  cavaliers,”  by  Velasquez,  three  pictures  at  the  Louvre. 


90  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


" , Manet,  the  painter-in-chief  of  ugliness,  which  in  sincere  self-delusion  he  ex- 

alts into  a worship.  It  seems  to  he  a fixed  principle  with  him  to  make  the  most  prom- 
ising subjects  for  beauty  — as  his  ‘Olympia’  for  instance,  which  motive  a Titian  or 
Correggio  would  have  transformed  into  a masterpiece  of  aesthetic  joy  — the  combination 
of  all  that  is  disagreeable  in  painting.  ....  Olympia  was  naked,  but  as  her  flesh  was 
of  the  hue  of  green  meat,  there  was  nothing  corrupting  to  the  public  morals  in  the  gross 
display  of  her  flaccid  charms.  She  was  of  no  mundane  type  of  feature  or  figure.  Her 
form  was  coarser,  if  possible,  than  a Terra  del  Fuegian  belle’s.  A negress  stood  grin- 
ning in  the  background,  and  a witch-cat,  with  her  black  back  up,  in  the  foreground.  These 
accesories  gave  a grotesque  hideousness  to  the  whole.  Yet  there  were  indications  of 
talent  and  a certain  spotty  force  of  splashy  contrasts  of  coloring,  which  might  be  trained 
to  better  work.  Manet  is  one  of  the  eccentricities  of  modem  art,  as  Whistler  is  another 
but  better  variety,  induced  by  the  popular  love  of  the  sensational  and  extravagant."  — 
Jabves,  Art  Thoughts. 

“ M.  Manet,  who  is  well  known  to  American  lovers  of  art  as  the  leader  of  the  new 
school  of  painters  and  the  illustrator  of  Poe’s  ‘ Raven,’  exhibits  this  year  two  pictures, 
one  at  the  Salon,  the  other  on  the  street.  Take  a look  first  at  ‘ Nana,’  rejected  by  the  jury 
on  the  ground  of  indelicacy.  It  may  be  seen  in  a window  at  Giroux’s,  on  the  Boulevanl 
des  Capucines.  You  will  probably  be  surprised  when  you  see  it;  it  is  certainly  a remark- 
able work  of  the  master,  and  it  has  become  one  of  the  incidents  of  the  day.  The  other 
picture,  exhibited  at  the  Salon,  is  a portrait,  — that  of  Faure  in  ‘ Hamlet.'  In  it  we  see 
the  Danish  Prince  in  the  presence  of  the  ghost,  and,  at  the  same  time,  the  singer  him- 
self. In  the  picture  on  the  Boulevard  lie  shows  his  appreciation  of  grace  and  cleganca; 
in  that  of  the  Salon,  that  he  is  the  strong  master  of  a nobie  style.’’  — America/i  Register. 
June,  1S77. 

Mann,  J.  H.  S.  {Brit.)  Conteraporarj'  English  painter,  residing 
in  London.  He  is  a member  of  the  Society  of  British  Artists,  exhib- 
iting cabinet  pictures,  generally  of  a genre  character.  Among  his 
later  works  are,  “ Nina,”  “ Bosom  Friends,”  “ The  Pet,”  “ A Quiet 
Cup  of  Tea,”  “ Eothen,”  “ Threatening  Weather,”  “ Pleased  with  a 
Feather,”  etc. 

“ The  subject  by  J.  H.  S.  Mann  [R.  A.,  1S73]  is  larger  than  he  habitually  paints.  It 
i.s  catalogued  without  a name,  and  represents  a lady  gazing  thoughtfully  into  the  far 
distance  of  an  open  country It  is  painted  with  all  the  grace  that  has  character- 

ized Mr.  Mann’s  former  productions,  but  the  person  has  more  of  intelligence,  and  carries 
more  of  personal  importance.”  — Art  Journal,  June,  1S73. 

Manson,  George.  {Brit.)  Born  in  Edinburgh  (1850-1876). 
He  was  a wood-engraver  of  some  promise,  painting  also  in  water  and 
in  oil  colors.  Among  his  original  works  may  be  mentioned,  *•  The 
B,hymer’s  Glen,”  “ The  High  School  Wynd,  Edinburgh,”  “A  Sark 
Fisherman,”  etc. 

Marc,  Jean-Auguste.  (Fr.)  Born  at  Metz,  1818.  Chevalier  of 
the  Legion  of  Honor.  In  1836  this  artist  taught  drawing  in  the  .firym- 
nasium  of  Diekirch.  He  went  then  to  Paris,  and  studied  at  TEcole 
des  Beaux-Arts  under  Delaroche.  He  painted  genre  and  historic 
subjects  and  portraits.  Marc  also  made  many  designs  for  illustrated 
publications.  On  the  death  of  Paulin,  founder  of  “L’Tllustration,”  he 
became  managing  director  of  that  journal,  and  after  1865  wrote  the 
political  bulletin. 

Marcellin,  Jean-Esprit.  {Fr.)  Bom  at  Gap,  about  1822.  Chev- 


ARTISTS  OF  THE  NINETEENTH  CENTURY. 


91 


alier  of  the  Legion  of  Honor.  Pupil  of  Rude.  His  “ Bacchus  giving 
himself  up  to  Sacrifice”  (1869)  is  at  the  Luxembourg.  The  works 
of  this  sculptor  are  seen  in  Marseilles.  Many  of  his  subjects  are  myth- 
ological. 

Marchal,  Charles  Francois.  {Fr.)  Born  at  Paris  (about  1828  - 
1877).  Three  medals  at  Paris  Salons.  Pupil  of  Prangois  Dubois  and 
Drolling.  This  artist  took  his  own  life  ; he  had  felt  that  he  was  un- 
justly estimated,  his  eyesight  was  much  enfeebled,  his  cares  were 
many  and  heavy,  and  his  courage  failed  him.  Among  his  best  works 
were,  “An  Interior  of  an  Inn  on  a Pete  Day  at  Bouxviller,  Upper 
Rhine  ” (1861)  and  “ Springtime  ” (1866).  At  the  Salon  of  1876  he 
exhibited  “The  Pirst  Step”  ; in  1875,  “The  Prey”  ; in  1873,  “The 
Morning”  and  “The  Evening,  in  Alsace”  ; in  1872,  “Alsace  ! ” ; in 
1868,  “Penelope”  (belonging  to  Mr.  Probasco  of  Cincinnati)  and 
“Phryne”;  etc.  His  “Choral  of  Luther,  Alsace”  (1863)  and  “The 
Fair  of  the  Servants  at  Bouxviller,  Alsace”  (1864)  are  in  the  Luxem- 
bourg. 

“ Charles  Marchal  offers  ns  an  example,  rare  enotigh,  of  an  amateur  who  has  arrived 
in  a few  years  to  the  rank  of  a true  artist.  I will  not  recount  to  you  all  the  circum- 
stances, more  or  less  romantic,  which  have  led  him  to  live  by  his  labor,  nor  the  difficul- 
ties of  his  debut,  nor  the  grand  resolve  which  he  one  day  made  to  dig  to  tlie  very  bottom 
of  Nature  in  our  dear  Alsace.  This  most  gay  and  truly  Parisian  of  all  the  painters  of 
Paris  confined  himself  for  nearly  two  years  to  the  little  industrious  village  of  Bouxviller, 
in  the  midst  of  a new  country  where  the  usages  and  costumes  of  the  good  old  times  are  well 
enough  preserved.  The  peasant-women  there  wear  the  embroidered  caps,  the  bodices 
glistening  with  spangles,  the  red  or  green  petticoats,  according  to  their  being  Protestants 
or  Catholics.  The  town  itself  is  as  picturesque  as  one  could  wish,  — it  seems  a place  of 
the  Middle  Ages,  — you  see  a beautiful  example  of  it  in  this  picture  of  the  ‘ Fair  of  the 
Servants.’  Certainly  this  young  artist  owes  much  to  the  cordiality  and  hospitality  of 
Alsace,  and  above  all  to  those  good  men  of  Bouxviller  who  have  cared  for  him  as  for  a 
son.  But  it  is  necessary  to  say  that  he  has  largely  paid  his  debt  in  revealing  to  the  Paris 
public  the  poesy,  half  Germanic,  of  this  far-off  counti’y,  and  these  manners  so  little  known. 
....  There  is,  in  truth,  some  little  thing  wanting  in  order  to  make  this  excellent  picture 
a true  chef-d’cuuvre ; the  artist  lacks  almost  nothing  to  make  him  a grand  painter.  But 
what  ? I cannot  say.  Perhaps  a little  more  air  in  the  picture.  Perhaps  a more  free 
and  full  effect  of  light.  I am  afraid  to  give  advice,  especially  since  it  would  probably  be 
useless.  When  an  artist  walks  so  firmly  in  the  good  path,  and  makes  new  progress  with 
each  effort,  it  is  best,  I believe,  that  he  should  consult  himself.  If  he  has  known  how 
to  go  so  far  without  the  counsel  of  the  critics,  he  has  good  sight  to  discern  the  end,  and 
good  legs  to  take  him  to  it,”  — Ed.uond  About,  Salon  o/1864. 

Marches!,  Pompeo.  {Ital.)  (1790-1858.)  Professor  in  the 
Academy  of  Milan,  and  recipient  of  many  honors.  This  sculptor  was 
a pupil  of  Canova.  He  executed  many  portrait  statues  and  busts  of 
notable  men  ; among  them,  twelve  of  the  Marshals  of  Italy  for  the 
Cathedral  of  Milan,  one  of  Goethe  for  the  library  of  Frankfort,  one 
of  Francis  I.  of  Austria  (now  at  the  castle  of  Vienna),  a colossal 
statue  of  Charles  Emmanuel  III.  in  Novaro,  etc. 

Marches!,  Salvatore.  (Ital.)  Of  Parma.  Medal  at  Philadel- 
phia, where  he  exhibited  “ Interior  of  the  Choir  of  the  Cathedral  of 
Parma,”  which  was  one  of  the  pictures  most  ivorthy  of  note  in  the 


92  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Italian  exhibit.  At  the  Paris  Exposition  of  1878  was  exhibited  his 
“ Interior  of  the  Sacristy  of  the  Church  of  Saint  John  at  Parma,”  be- 
longing to  the  Academy  of  Milan. 

Mardchal,  Charles-Laurent.  (Er.)  Bom  at  Metz,  about  1800. 
Officer  of  the  Legion  of  Honor,  and  Correspondent  of  the  Institute. 
Pupil  of  Regnault.  His  pictures  are  of  genre  subjects.  He  has 
gained  much  reputation  by  pastels,  and  more  by  his  glass  painting, 
which  is  in  many  of  the  finest  churches  and  cathedrals  of  France. 

Marilhat,  Prosper.  (PV.)  Born  at  Vertaizon  (1810-1847).  Pupil 
of  Roqueplan.  His  earlier  essays  gave  no  promise  of  the  talent  which 
he  showed  later.  He  was  so  fortunate  as  to  have  the  opportunity  of 
going  to  the  East  with  Baron  Hugel,  a rich  Prussian,  and  there  found 
his  true  inspiration.  Gautier  says,  “ Marilhat  was  a Syrian  Arab,  he 
must  have  liad  in  his  veins  some  blood  of  the  Saracens  whom  Charles 
Martel  did  not  kill.”  Marilhat  was  invited  by  his  friend  to  go  to  the 
East  Indies,  but  he  preferred  to  remain  in  Egypt,  and  passed  some 
time  at  Alexandria,  Cairo,  Rosetta,  and  their  environs.  He  painted  a 
portrait  of  the  Pasha  ; he  painted  other  portraits  for  300  francs  each, 
in  order  to  support  himself.  He  also  decorated  a common  theater  at 
Alexandria,  but  whenever  he  could  he  made  sketches  of  the  country, 
its  environs,  costumes,  etc.  After  his  return  to  Paris  he  sent  to  the 
Salons,  “ Esbekieh  Square,”  “ The  Tomb  of  the  Sheik  Abou-Man- 
dour,”  “The  Valley  of  the  Tombs  at  Thebes,”  “The  Garden  of  the 
Mosque,”  and  “ The  Ruins  of  Baalbec.”  To  the  Salon  of  1844 
Marilhat  sent  eight  pictures.  Gautier  says,  that  if  the  expression  may 
be  allowed,  this  exhibition  was  to  him  the  Song  of  the  Swan,  and 
that  these  works  were  eight  diamonds.  Among  them  were,  “ A Sou- 
venir of  the  Banks  of  the  Nile,”  “ A Tillage  near  Rosetta,”  “ An 
Egyptian  City  by  Twilight,”  “ View  near  Tripoli,”  “A  Cafe  on  a Road 
in  Syria,”  etc. 

The  first  of  these  is  his  chef-d’oeuvre.  He  felt  that  he  merited  more 
attention  from  this  Salon  than  he  received,  — he  was  discoirraged  ; he 
fell  into  a state  from  which  death,  even  at  his  early  age,  was  a happy  de- 
liverance ; and  so  passed  away,  leaving  two  or  three  hundred  pictures 
in  a more  or  less  advanced  state.  Some  of  his  sketches  were  very 
beautiful.  M.  Camille  Marcelle  has,  at  his  house  at  Oiseme,  a short 
distance  from  Chartres,  “ The  Ruins  of  Baalbec  ” and  three  studies. 
At  the  Wertheimber  sale  at  Paris  (1861),  “The  Entrance  to  Jeru- 
salem” (55  by  84  centimeters)  sold  for  16,000  francs.  At  tbe  Du- 
bois sale,  Paris  (1860),  “ The  Passage  of  the  Ford”  sold  for  7,050 
francs.  At  the  Prevost  sale,  Paris,  “ A Bazaar  near  J erusalem  ” sold 
for  ^640,  and  “A  Turkish  Dance  near  the  Bosphorus”  for  £266. 
At  the  Oppenheim  sale,  Paris,  1877,  “Ruins  near  Cairo”  sold  for 
29,000  francs. 

“ One  of  the  glories  of  M.irilhat  was  that  he  preserved  his  originality  in  presence  of 
Decamps.  The  talents  of  these  two  men  are  parallel  lines,  it  is  trae,  but  they  do  not 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  93 


touch  each  other ; the  more  fruitful  fancy  of  the  one  is  balanced  by  the  character  in  the 
works  of  the  other.  If  the  color  of  Decamps  is  more  phosphorescent,  the  drawing  of 
Marilhat  is  the  more  elegant.  The  execution,  excellent  with  both,  excels  in  fineness  in 
the  painter  who  was  carried  away  so  young  to  his  glory,  and  to  the  long  future  which 
should  await  him.”  — Theophile  Gautiee,  Revue  des  Deux  Mondes,  July,  1S48. 

“ Decamps  had  painted  before  Marilliat  these  countries  and  these  figures,  and  he  had 
impressed  on  all  a strange  character  and  a fierce  style,  an  air  of  primitive  savageness. 
Marilhat  sees  tliem  with  calmer  eyes  ; lie  finds  in  these  figures  a beauty  more  human, 
and  perhaps  more  true.  He  throws  a less  oppressive  light  over  his  pictures.  Regard- 
ing this  nature  on  its  laughing  and  magnificent  side,  he  tempers  the  violence  of  it,  and 
makes  its  high  colors  less  pronounced.  Marilhat  prefers  to  show  us  the  Happy  Arabia.” 
— Charles  Blanc. 

Maris,  Jacques.  {Belgian.)  Born  at  The  Hague.  Pupil  of  E. 
Hebert.  At  the  Paris  Salon  of  1877  he  exhibited  “The  Plow” 
and  “Baby  and  the  Kitten”;  in  1874,  “A  View  of  Amsterdam.” 
His  “ Seaweed-Gatherers  ” brought  $ 1,250  at  the  Cottier  sale.  New 
York,  1878.  His  “View  in  Holland”  (belonging  to  B.  Schlesinger) 
was  exhibited  at  the  Mechanics’  Fair,  Boston,  in  1878.  To  the  Paris 
Exposition,  same  year,  he  sent  On  the  Beach  ” and  “ A Dutch 
.Landscape.” 

Maris,  Matthias.  {Belgian.)  Born  at  The  Hague.  Lives  in  Lon- 
don. Mr.  Cottier  has  brought  the  pictures  of  this  artist  to  America. 
One  of  them  was  called  “Where  Shadowy  Trees  their  Twilight 
make.” 

Marks,  Henry  Stacy,  A.  R.  A.  {Brit.)  Born  in  London,  1829. 
He  was  a pupil  of  the  Royal  Academy  in  1851.  In  1852,  with  Cal- 
deron, he  went  to  Paris,  where  he  entered  the  atelier  of  Picot,  becom- 
ing later  a pupil  of  I’Jicole  des  Beaux- Arts.  In  1853  he  returned  to 
England,  and  exhibited  his  first  picture  at  the  Royal  Academy  the 
same  year,  entitled  “ Dogberry.”  In  1854  he  sent  “ Christopher  Sly  ” ; 
in  1855,  “Slender’s  Courtship”  ; in  1857,  “Bottom  as  Pyramus”  ; in 
1858,  “A  Day’s  Earnings”;  in  1859,  “Dogberry’s  Charge  to  the 
Watch”  (which  attracted  much  attention);  in  1860,  “The  Sexton’s 
Sermon  ” ; in  1861,  “ The  Franciscan  Sculptor  ” ; in  1862,  “ The  Jest- 
er’s Text”  ; in  1863,  “How  Shakspere  studied”  ; in  1864,  “Doctors  Dif- 
fer ” ; in  1866,  “My  Lady’s  Page  in  Disgrace”  ; in  1867,  “Falstaff’s 
Own”  ; in  1868,  “Experimental  Gunnery  in  the  Middle  Ages”  ; in 
1869,  “ The  Minstrel’s  Gallery  ” ; in  1871  (when  he  was  elected  an 
Associate  of  the  Eoj^al  Academy),  “ The  Book-Worm” ; in  1872,  “ Wait- 
ing for  the  Procession”  ; in  1873,  “A  Peep  of  the  Avon”;  in  1874, 
“The  Latest  Fashion”  ; in  1875,  “Jolly  Post-Boys  ” and  “ A Merrie 
Jester  ” ; in  1876,  “ The  Apothecary”  ; in  1877,  “ A Bit  of  Blue  ” and 
“ The  Spider  and  the  Ely  ” ; in  1878,  “ Convocation.”  He  is  a member 
of  the  Society  of  Painters  in  Water-Colors.  Among  Marks’  other 
pictures,  exhibited  elsewhere,  are,  “ Jack  O’Lantern,”  “ Orpheus,” 
“ May-Day  in  the  Olden  Time,”  “ The  Tinker,”  “ The  Princess  and 
the  Pelican,”  and  “ The  Missal  Painter.”  To  Philadelphia,  in  1876, 
ho  sent  “The  Ornithologist”  and  “The  Three  Jolly  Post-Boys”;  to 


94  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Paris,  in  1878,  “ The  Apothecary  ” and  “ St.  Francis  and  the  Birds  ” 
(in  oil),  and  “The  Princess  and  the  Pelican”  (in  water-colors). 

“ Mr.  Marks  heads  the  list  with  a lively  and  amusing  scene  of  ‘ The  Beggars  coming  to 
Town  * [R.  A.  1865J,  the  best  composed  and  painted  work  which  we  remember  from  his 
l»encil.  The  humors  of  the  ragged  troupe  are  carefully  discriminated.’’  — Palcrave’s 
Essays  on  Art. 

“The  pictorial  style  of  Mr.  Marks  is  expressly  medisevah  What  middle-age  sculptors 
did  in  stone,  the  painter  does  on  canvas.  The  sly  humor,  the  caustic  satire,  expended 
on  cathedral  stalls  in  centuries  past,  this  artist  now  revives  on  the  walls  of  the  Royal 
Academy.” — J.  B.  Atkinson,  English  Painters  of  the  Present  Day. 

“ It  has  been  said  in  the  columns  of  our  journal  that  Mr.  ilarks  can  never  put  brush 
to  canvas  without  provoking  laughter,  and  yet  after  a quaint  fashion  he  preserv'es  a cer- 
tain style  of  dignity.  It  is  tliis  dignity,  mediavalas  it  generally  is  in  expression,  wliich 
gives  the  true  value  to  his  works  ; one  can  smile  at  the  artist’s  humor  while  acknowl- 
edging and  respecting  the  talent  and  patient  labor  in  which,  so  to  speak,  it  is  clothed,  or, 
in  other  words,  by  which  it  is  exemplified.”  — Art  Journal^  December,  1870. 

“ ‘ AMerrie  Jest  ’ is  very  characteristic  of  this  painter’s  special  gifts.  The  difficulty  of 
so  subtle  a rendering  as  this  of  the  half-checked  yet  extreme  mirili  of  persons  naturally 
humorous  can  only  be  judged  of  by  considering  how  often  aspects  of  laughter  are  at- 
tempted in  pictures  and  how  rarely  we  feel  ourselves  inclined  to  join  in  the  merriment 
The  piece  of  accessory  landscape  is  very  unaffected  and  good,  and  the  painting  through- 
out of  good  standard  modem  quality.”  — Ruskin’s  Kotes  of  the  Academy,  1875. 

Marochetti,  Baron  Charles.  (Ital.)  Born  at  Turin  of  parents 
who  were  naturalized  citizens  of  France  (1805  - 1868).  Chevalier  of 
the  Legion  of  Honor  and  Grand  Officer  of  the  Order  of  Saints  Maurice 
and  Lazarus.  Pupil  of  Bosio.  His  “ Young  Girl  playing  with  a Dog  ” 
(1827)  won  his  first  medal.  His  chef-d’oeuvre  is  a statue  of  “ Emman- 
uel Philibert,”  which  he  presented  to  the  capital  of  Sardinia.  Among 
his  works  are,  a has-relief  on  the  Arc  de  Triomphe,  the  Tomb  of  Bel- 
lini, the  high  altar  of  the  Madeleine,  and  many  other  works  in  public 
places  in  France.  After  the  Kevolution  of  1848  he  went  to  England, 
where  he  made  the  colossal  “ Eichard  Coeur  de  Lion,”  which  adorned 
the  entrance  to  the  Crystal  Palace,  and  was  cast  in  bronze  by  national 
subscription  ; an  equestrian  statue  of  the  Queen  for  the  city  of  Glas- 
gow ; a granite  obelisk  erected  to  the  memory  of  the  soldiers  who  fell 
in  the  Crimean  War ; various  ideal  subjects,  and  many  portraits,  among 
which  M’as  that  of  Prince  Albert.  In  the  country  of  his  adoption  he 
found  many  powerful  friends,  and  received  numerous  commissions  for 
both  public  and  private  works. 

Marshall,  Charles.  (Brit.)  Born  in  London,  1806.  Like  Stan- 
field, Bough,  and  other  prominent  artists,  he  began  his  professional 
career  as  a scene-painter,  working  in  that  capacit}^  in  London  for 
many  years.  He  was  articled  as  a lad  to  Marinari,  the  Italian  scenic- 
artist  of  Drury  Lane  Theater.  He  was  at  the  Covent  Garden  Theater 
while  under  the  management  of  Mr.  Macready,  and  at  the  Haymarket 
Theater  when  the  same  actor  first  produced  Bulwer’s  “ kloney.”  He 
first  introduced  the  lime  light  for  the  illustration  of  dramatic  tableaux, 
and  in  his  long  experience  has  been  associated  in  the  production  of 
many  remarkable  stage  effects  in  the  British  metropolis.  He  illus- 


artists  of  the  nineteenth  century. 


95 


trated  by  a diorama  the  interior  view  of  the  coronation  of  William 
IV.  in  Westminster  Abbey;  assisted  at  the  decoration  of  the  same  ca- 
thedral at  the  time  of  the  coronation  of  Victoria;  painted  moving 
panoramas  of  the  “ Naval  Victories  of  Great  Britain,”  “ The  Battles 
of  Napoleon  I.,”  “Overland  Route  to  India  ” (a  Christmas  pantomime 
written  by  Douglas  Jerrold),  “ Tour  of  Europe,”  “ The  Crimean  Cam- 
paign,” “ The  Great  Gold  Fields,”  etc.  He  has  now  retired  from 
scenographic  work,  devoting  himself  to  landscape-painting,  dejjicting 
chiefly  scenes  of  North  Wales,  Snowden,  etc.,  also  views  in  War- 
wickshire, Derbyshire,  Devonshire,  and  Hampshire.  He  studied  oil- 
painting  under  John  Wilson,  and  when  eighteen  years  of  age  received 
the  gold  Isis  Medal  of  the  Society  of  Arts  for  a picture  in  oil.  A view 
of  the  Glyddye  range  of  mountains,  painted  for  the  Lady  Marion 
Alford,  is  now  at  Ashridge,  the  seat  of  Earl  Brownlow.  His  “ Even- 
ing Lights”  was  at  the  Royal  Academy  in  1878.  Mr.  Marshall  has 
contributed  to  various  publications,  including  Henshall’s  “ Vicinity  of 
London,”  “ The  Gallery  of  British  Artists,”  etc. 

“ On  a certain  occasion  when  Macreacly  brought  out  ' The  Tempest,’  I remember 
Leigli  Hunt  standing  up  in  the  box,  involuntarily,  and  murmuring,  witli  tears  of  rapture 
in  his  eyes,  ' O,  it  is  too  beautiful ! ’ at  the  moment  the  curtain  drew  up  aud  ])resented 
the  seashore  of  the  Enchanted  Isle,  with  the  long  waves  of  tiietide  slowly  moving  down 
towards  the  spectators,  and  then  bristling  into  sparkling  foam  and  running  onwards  in 

broad  silver  ridges  and  ripples  over  the  yellow  sands On  another  occasion,  when 

Macready  brought  out  ‘ As  You  Like  It,’  the  Forest  of  Arden,  where  the  romantic  Duke 
had  taken  up  his  abode,  was  represented  at  his  rustic  palace,  with  an  entire  covering  of 
tangled  boughs  and  foliage  high  overhead,  among  the  leaves  of  whicli,  with  their  delicate 
tints,  peeps  of  sky,  .and  glancing  green  lights,  there  was  a constant  moving  and  fluttering 
as  of  soft  winds  and  small  birds,  whose  sweet  warbling  fitfully  blended  with  the  subdued 
strains  of  the  orchestra  below.” — E.  H.  Horne,  The  Burlesque  and  the  Beautiful, 
Contemporary  Review,  October,  1871. 

Marshall,  William  C.,  R.  A.  {Brit.)  Born  in  Edinburgh,  1813. 
W ent  to  London  at  an  early  age,  studying  sculpture  under  Baily  and 
Chan  trey.  He  first  exhibited  at  the  Royal  Academy  in  1835.  The 
next  year  he  went  to  the  Continent,  spending  some  time  in  work  and 
study  at  Rome.  He  opened  a studio  in  London  in  1839,  and  was 
elected  a member  of  the  Roj'al  Academy  in  1852.  In  1857  he  re- 
ceived a prize  for  designs  for  the  National  Monument  to  the  Duke  of 
Wellington,  to  be  placed  in  St.  Paul’s,  London.  He  executed  the 
statues  of  Somers  and  Clarendon  in  the  Houses  of  Parliament,  of 
Sir  Robert  Peel  at  Manchester,  of  Jenner  in  Trafalgar  Square,  etc. 
Among  his  ideal  works  may  be  mentioned,  “ The  Broken  Pitcher,”  in 
1842;  “The  Dancing-Girl  Reposing”  (which  won  the  Art  Union 
Prize),  “ Fresh  from  the  Bath,”  “ The  Carrier-Pigeon,”  “ Jael,”  in 
1867;  “Psyche,”  in  1868;  “The  Christian  Martyr,”  in  i 871 ; “Ruth,’^ 
in  1872;  “ The  Old  Story  ” and  “ The  New  Story”  (in  terra-cotta),  in 
1874;  “Convalescence,”  in  1875;  “Pygmalion’s  Statue,”  in  1876;  “The 
Prodigal  Son,”  in  1877;  “Early  Troubles”  and  “ Whispering  Vows  to 
Pan,”  in  1878. 


96  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Marshall,  Robert  Angelo  Klittermaster.  (Brit.)  Bom  in  1849. 

Studied  under  his  father,  Charles  Mai-shall.  Landscape-painter.  Mem- 
ber of  the  Langham  Sketching  Club,  elected  in  1872,  and  of  the  Artist 
and  Amateur  Conversazione  Society,  elected  in  1876.  He  has  spent 
his  professional  life  in  London,  exhibiting  at  the  Royal  Academy,  and 
elsewhere  in  the  metropolis  and  in  the  Provinces.  Among  his  works 
are,  “ Looking  towards  Arthog,”  “In  the  late  Summer-Time,  Hants,” 
“ A Shallow,  Weedy  River,  Hants,”  “ Sultry  Autiunn,  Sussex.” 

Marshall,  Thomas  W.  (Am.)  (1850-1874.)  A young  land- 

scape and  genre  painter  of  much  promise.  Comparatively  self-edu- 
cated as  an  artist.  He  exhibited  at  the  National  Academy,  in  1871, 
“Near  Bellows  Falls”;  in  1873,  “An  Interior  at  Barbison,  France”; 
in  1874,  “ Late  Afternoon  in  the  Forest,  Keene  Flats.” 

Marstrand,  William  Nicolas.  (Dane.)  Born  at  Copenhagen 
(1810-1873).  He  spent  some  time  in  Germany  and  Italy,  and  on  his 
return  to  his  own  country,  was  made  Professor  and  then  Director  of 
the  Academy  of  Beaux- Arts,  at  Copenhagen.  Marstrand  became  very 
celebrated  in  Denmark  by  his  portraits  and  genre  pictures.  He  sent 
works  to  Paris,  where  his  color  was  not  admired,  but  seemed  false  and 
exaggerated.  Several  works  by  this  artist  were  exhibited  at  Paris  in 
1878. 

Martin,  Homer  D.,  N.  A.  (Am.)  Native  of  Albany,  N.  Y. 
With  the  exception  of  a few  weeks’  study  under  William  Hart,  early 
in  his  career,  he  is  entirely  self-taught  as  an  artist.  For  many  years 
he  has  had  a studio  in  New  York.  He  is  a member  of  the  Artists’ 
Fund  Society  of  that  city,  of  the  Society  of  American  Artists,  and  of 
the  National  Academy,  of  wliich  he  was  elected  Associate  in  1868 
and  Academician  in  1875.  He  has  been  successful  as  a landscape- 
painter.  Among  his  works  are,  “ An  Equinoctial  Day  ” (belonging 
to  Dr.  F.  N.  Otis),  “ Brook  in  the  Woods  ” (belonging  to  Dr. 
Mosher),  “The  Footpath”  and  “In  the  Adirondacks  ” (to  John 
Middleton),  “ Spring  Morning  ” (to  Montgomery  Schuyler),  “Morn- 
ing on  the  Lake,”  “A  Cloudy  Day,”  “Hemlock  Woods,”  “The 
Thames  at  Richmond,”  “ Idling,”  etc.  His  “ Adirondacks  ” (belong- 
ing to  tlie  Century  Club)  was  at  the  Philadelphia  Exposition  of  1876. 
During  the  summer  of  1878  he  made  a series  of  sketches  of  the  homes 
of  American  Poets  for  Scribner’s  Monthly. 

“ Homer  Martin  is  seen  in  a tenderly  and  originally  treated  ^Evening  on  the  Saranac* 
[Artists’  Fund,  187S],  with  almost  gorgeous  radiance  streaming  through  and  athw’art 
the  river  ; a genial,  vivacious,  winning  representation,  not  destitute  of  truest  poetry.** 
— New  York  Evening  Post,  January  15.  1878. 

“‘Sand-Dunes  on  Lake  Ontario,*  by  Homer  Martin  [Society  of  American  Artists, 
1878],  is  worthy  of  a place  conceived  by  Dante  in  his  saddest  and  most  lonely  hours.  A 
gray  sky  and  an  atmosphere  loaded  with  dust  envelop  some  stricken,  sear  trees,  whose 

tom  and  shattered  limbs  are  half  lost  in  drifts  of  white  sand This  painting 

haunts  one  like  a melancholy  dream,  and  we  wonder  what  sad  mood  it  was  in  the  artist 
that  could  have  clothed  itself  in  ascene  so  dreary  and  hopeless  as  this*  As  a purely  ‘im- 
pressionist ’ picture  this  takes  its  place  with  the  dreamy  distances  of  Corot  or  the  ‘Sil- 
ver Nocturnes*  of  Whistler.*’  — Art  Journal,  April,  1S7S. 


ARTISTS  OF  THE  NINETEENTH  CENTURY. 


97 


Martineau,  Robert  B.  (Brit.)  Born  in  London  (1826-1869). 
Educated  at  the  University  of  London.  He  was  for  four  years  in  the 
office  of  a lawyer.  In  1846  he  turned  his  attention  to  art,  enteretl 
the  Royal  Academy  in  1848,  obtaining  a medal  in  1851.  Later  he 
was  for  a short  time  a pupil  of  Holman  Hunt.  He  exhibited  for  the 
first  time  at  the  Royal  Academy,  in  1852,  “ Kit’s  Writing-Lesson  ” ; 
in  1855,  “ Katherine  and  Petruchio  ” ; in  1856,  “ The  Lesson  ” ; in 
1861,  “ The  Allies  ” ; in  1863,  “ The  Last  Chapter  ” ; in  1866,  “ The 
Frog  Prince.”  He  sent  to  the  International  Exhibition  of  1862,  “ The 
Last  Days  of  the  Old  Home,”  which  is  perhaps  his  most  important 
picture,  and  which  attracted  much  attention.  It  has  since  been  en- 
graved. 

“ Mr.  Martineau’s  single  picture,  a girl,  who  has  knelt  down,  while  she  finishes  the 
last  chapter  [R.  A.  1803]  of  some  absorbing  book,  is  one  of  the  most  satisfactory  pieces 
of  design  and  execution  on  the  walis  ; what  we  rather  miss  in  it  is  the  sentiment  of 
beauty.  Besides  the  expression  of  the  young  lady’s  face,  the  skillful  gradation  of  the 
chiaroscuro  as  the  room  recedes  from  the  light,  and  the  skill  with  which  the  cool  colors 
have  been  harmoniously  carried  into  the  center  of  the  piece  by  aid  of  the  cover  of  the 
book,  deserve  especial  notice.”  — Palorave’s  Essays  on  Art. 

Martinet,  Achille-Louis.  (Fr.)  Born  at  Paris,  1806.  Member 
of  the  Institute.  Officer  of  the  Legion  of  Honor  and  Chevalier  of 
the  Order  of  Leopold.  Pupil  of  Heim  and  Forster.  Most  of  the 
plates  of  this  celebrated  engraver  are  after  the  works  of  the  older 
masters  ; a few,  however,  are  from  those  of  the  artists  of  this  century. 
Among  these  last  are  the  “ Charles  I.”  and  “ Mary  in  the  Desert,” 
after  Delaroche  ; “ The  Last  Moments  of  Count  Egmont  ” and 
“ Counts  Egmont  and  Horn,”  after  Gallait  ; “ The  Adulteress,”  after 
Signol  ; “ Tintoretto  by  the  Couch  of  his  Daughter,”  after  Cogniet ; 
etc. 

Marzaroli,  Cristoforo.  (Ital.)  Born  near  Parma  (1837  - 1871). 
As  a boy  he  attracted  much  attention  by  his  small  plaster  figures. 
He  studied  under  Ferrarini  at  Parma,  and  there  modeled  his  “ St. 
Sebastian  Bound,”  which  brought  him  into  notice.  His  statue 
of  Parmigianino  is  in  the  Gallery  of  Parma.  By  this  last  work  he 
gained  the  right  to  go  to  Rome,  where  he  modeled  his  “ Nostalgia,”  or 
“ Home-Sickness.”  In  1870  he  gained  the  first  prize  at  the  National 
Artistic  Exposition.  He  made  a statue  of  Romagnosi  for  Piacenza. 

Masini,  Girolamo.  (Ital.)  Born  at  Florence,  1840.  Professor 
of  Sculpture  in  Rome.  Pupil  of  Costoli.  He  won  the  prix  de  Rome 
at  Florence,  and,  going  there  to  continue  his  studies,  has  remained. 
His  first  work  was  “ Cola  di  Rienzi,”  which  had  much  merit.  His 
statue  of  Fabiola  has  gained  him  several  medals,  and  is  worthy  all 
the  praise  it  has  received.  Among  his  other  works  are  a statue  of 
“ Cleopatra,”  one  of  “ Hagar,”  and  one  of  “ Adelaide  Cairoli,”  erected 
at  Gropello. 

Mason,  George  H.,  A.  R.  A.  (Brit)  Born  in  Staffordshire. 
Died,  1872.  He  intended  to  study  for  the  medical  profession,  but  be- 

VOL.  II.  5 G 


98  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


came  an  artist  while  still  a young  man,  studying  in  Rome,  and  paint- 
ing there  his  “ Plowing  in  the  Salt-Marshes  of  the  Campagna,”  and 
other  pictures.  In  1862  he  sent  to  the  Royal  Academy,  London, 
“ Mist  on  the  Moors”  ; in  1863,  “ Catch”  ; in  1864,  “Return  from 
Plowing”;  in  1865,  “The  Geese”  and  “The  Gander”;  in  1866, 
“Yarrow”  and  “The  Young  Anglers”;  in  1867,  “Evening,  Mat- 
lock”  ; in  1868,  “ Netley  Moor.”  In  1869  (when  he  was  elected  As- 
sociate of  the  Royal  Academy)  he  contributed  “ Only  a Shower  ” ; 
in  1870,  “ Landscape,  Derbyshire”;  in  1871,  “Blackberry-Gather- 
ing” and  “The  Milkmaid”;  in  1872,  “Harvest  Moon.”  Two 
hundred  of  his  pictures,  collected  after  his  death,  were  exhibited  in 
London  in  1873. 

“ The  charm  of  tliese  pictures  does  not  lie  in  tlie  realism  with  which  he  has  painted 
the  scenes,  although,  according  to  the  Spectator,  he  has  given  in  them  the  life  of  the 
midlands  with  a truthfulness  wliich  even  George  Eliot  has  not  exceeded  in  her  writings, 
but  in  the  idealism  that  he  has  put  into  his  fields  and  commons  and  country  roads, 
with  tlieir  peculiar  groups,  that  renders  them,  while  perfectly  true,  perfectly  idyllic.”  — 
Mrs.  Tytler’s  Modem  Painters. 

“ The  colors  arc  uncommonly  tender  and  bright ; the  grays  are  managed  with  a skill 
which  all  who  have  handled  a bmsh  will  en^'y,  and  every  line  in  the  little  work 
[ ‘ Catch  ’ ] shows  that  fresh  originality  of  invention  or  that  fust-hand  recurrence  to 
Nature,  which  gives  an  inimitable  air  of  masterliness  to  landscape.  The  children  and 
horses,  although  on  a small  scale,  are  studied  with  a truth  and  feeling  worthy  of  the 
fine  ' Landscape  of  the  Campagna,’  by  which  Mason  won  for  himself  distinction  at  the 
International  Exhibition.”  — Palgrave’s  Essays  on  Art. 

“ Mr.  Mason's  sources  of  inspiration  have  been  very  humble,  but  his  impersonations 
are  carried  out  with  a refinement  above  their  presumed  position.  He  sets  the  grammar 
of  Art  at  defiance  in  composition,  and  whether  he  may  or  may  not  have  looked  at  the 
conceptions  embodied  on  antique  vases,  we  are  reminded  here  and  there  of  the  spirit  of 
them.  The  spirit  of  Mr.  Mason’s  manner  may  be  signalized  as  that  of  the  ‘ Harvest 
Moon,’  and  in  studying  that  really  admirable  picture  we  are  impressed  with  the  amount 
of  learning  shown  there.  ” — Art  Journal,  March,  1S73. 

Massaloff,  Nicolas.  (Ritssian.')  Born  at  Moscow,  1846.  Mem- 
ber of  the  Academy  of  St.  Petersburg.  Medal  at  the  Salon  of 
1873.  The  father  of  this  engraver,  a distinguished  connoisseur 
and  collector  of  works  of  art,  gave  his  son  every  advantage  and  en- 
couragement in  his  artistic  pursuits.  He  studied  at  Moscow,  then 
at  Dresden  under  Kriebel.  and  lastly  at  Paris  under  Flameng.  He 
then  returned  to  Russia,  and  commenced  a series  of  engravings  after 
the  masterpieces  in  the  Hermitage  at  St.  Petersburg.  He  has  pub- 
lished sixty  plates  as  the  result  of  this  undertaking.  Although  at 
first  considered  an  amateur,  Massaloff  is  now  recognized  as  a true 
artist. 

Matejko,  Jean  Aloysiua.  (Pole.)  Born  at  Cracow,  1838. 
Chevalier  of  the  Legion  of  Honor.  Studied  in  Cracow,  Munich, 
and  Vienna.  He  occupies  the  first  rank  among  modern  painters  of 
Polish  history.  In  1874  he  exhibited,  at  the  Paris  Salon,  “ Etienne 
Bathori,  King  of  Poland,  before  Pskow,  1582  ” ; in  1870,  “ The 
Union  of  Lublin,  1569  ” ; in  1865,  “ The  Sermon  of  Pierre  Skarga  ” ; 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  99 


etc.  In  1875  he  exhibited,  at  Cracow,  “ The  Placing  of  the  Bells  in 
the  Cathedral  of  Cracow  in  1521,  in  Presence  of  King  Sigismond 
and  his  Court.”  He  published  in  1860  twelve  illustrations  of  Polish 
costume.  Charles  Yriarte  says  : — 

There  is  in  the  works  of  Matejko  a vignette  appearance  which  paralyzes  the  effect 
which  his  well-ordered  compositions  should  have.  His  atmosphere  is  always  violet-col- 
ored.’' 

“ Matejko,  who  is  especially  consecrated  to  retrace  the  grand  episodes  of  the  history 
of  Poland,  has  a talent  of  a singular  sort,  whicli  enters  into  no  category  of  the  French 
school.  By  a certain  romantic  boldness  he  reminds  us  vaguely  of  Delacroix  ; by  a cer- 
tain ugly  sincerity  he  approaches  Robert-Fleury  ; by  a certain  brutal  realism  he  some- 
times recalls  Hogarth  ; by  a certain  systematic  barbarity  he  borders  upon  Gustave 
Dore,  and  the  humorous  pictures  of  Vibert,  all  brought  together  in  enormous  canvases, 
fifteen  or  twenty  feet  long,  encumbered  with  people  in  divers  costumes,  full  of  bizarre 
details,  spotted  with  brilliant  colors,  which  are  piled  one  on  the  other  so  that  the  air 
and  the  light  cannot  play  between  them.  At  first  the  eye  suffers  from  this  tumult, 
then  one  discovers  an  original  composition,  great  firmness  of  drawing,  energetic  and  free 
attitudes,  and  figures  of  surprising  rudeness.’*  — Ernest  Duvergier  de  Hauranne, 
Hevue  des  Deux  Mondes,  June,  1874. 

Mathieu,  Lambert  Joseph.  {Belgian.')  Bom  at  Bure  (1804- 
1861).  Knight  of  the  Order  of  Leopold.  Pupil  of  Van  Bree.  A 
painter  of  historical,  scriptural,  and  genre  subjects.  Director  of  the 
Academy  of  Louvain.  Some  of  his  best  works  are  in  the  Museums 
of  Louvain  and  Brussels. 

Matout,  Louis.  {Fr.)  Born  at  Charleville,  1813.  Chevalier  of 
the  Legion  of  Honor.  Pupil  of  I’Ecole  des  Beaux- Arts.  The  prin- 
cipal works  of  this  artist  have  been  cartoons  for  decorative  paintings. 
Among  his  easel-pictures  are,  “ A Woman  of  Boghari  killed  by  a 
Lion”  (1855),  at  the  Luxembourg;  “St.  James  the  Great  bap- 
tizing the  Young  Scribe,”  “Florentine  Landscape,”  “Venus  Pande- 
mos,” and  “ Marriage  of  Bacchus  and  Ariadne.” 

Matteson,  Tompkins  H.,  A.  H.  A.  (Am.)  Bom  in  Madison 
County,  N.  Y.,  1813.  As  a boy  he  was  an  enthusiastic  art  student, 
following  his  profession  under  many  difficulties.  He  entered  the  Na- 
tional Academy,  and  painted  portraits  in  the  city  and  state  of  New 
York  for  some  years.  His  “ Spirit  of  ’76,”  purchased  by  the  Ameri- 
can Art  Union,  first  brought  him  into  notice  as  an  artist.  Among 
his  early  works  are  his  “ First  Sabbath  of  the  Pilgrims,”  “ Examina- 
tion of  a Witch,”  “ Perils  of  the  Early  Colonists,”  “ Eliot  preaching 
to  the  Indians,”  “ First  Sacrament  on  the  American  Shores,”  “ Eip 
Van  Winkle’s  Eetirrn  from  the  Mountains,”  “ Eustic  Courtship,” 
“ First  Eide,”  “Morning  Meal,”  and  his  portrait  of  Mayor  Haver- 
ineyer,  in  the  City  Hall,  New  York.  He  lived  in  New  York  from 
1840  to  ’51,  when  he  removed  to  Sherbourne,  N.  Y.  Mr.  Matteson 
has  been  for  many  years  an  Associate  of  the  National  Academy,  but 
his  pictures  have  not  been  seen  on  its  walls  since  1869,  when  he  ex- 
hibited “ At  the  Stile  ” and  “ Foddering  Cattle.” 

“Matteson’s  early  groups  judiciously  avoid  extravagance,  are  often  harmonious  in 
color,  but  sometimes  waut  vigor  of  handling The  national  and  rustic  subjects 


100  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


drawn  by  this  pioneer  genre  painter  indicate  the  average  taste  of  the  people,  and  sug- 
gest what  themes  executed  with  greater  finish  and  more  subtle  elaboration  would  most 
successfully  illustrate  this  branch  of  art  among  us."  — Tuckebman’s  Book  of  the  Artists. 

Maureta,  Gabriel.  (Span.)  Medal  at  the  Philadelphia  Exposi- 
tion, where  he  exhibited  “ Torquato  Tasso  retiring  to  the  Monastery 
of  St.  Onofrio,”  which  was  commended  for  artistic  excellence. 

Mauve,  Anton.  {Dutch.)  Born  at  Zaandam.  Medal  at  Phila- 
delphia, where  he  exhibited  “Hauling  up  the  Fishing-Boat,”  which 
was  especially  noted  as  praiseworthy  by  Mr.  Weir  in  his  report. 
Mauve  is  the  pupil  of  P.  F.  Van  Os.  At  Paris  in  1877  he  exhibited 
“ Discharging,”  and  in  1876  two  pictures  with  cows.  At  the  Cottier 
sale.  New  York,  1878,  “ Pastures  in  Holland”  sold  for  $ 1,500.  His 
“ Seaweed-Gatherers,”  belonging  to  Thomas  G.  Appleton,  and  the 
“ Forester’s  Team,  — Frosty  Morning,  Holland,”  belonging  to  B. 
Schlesinger,  were  exhibited  at  the  Mechanics’  Fair  in  Boston  in  1878. 
At  the  Paris  Exposition,  same  year,  was  his  “ Landscape  with  Sheep, 
— Winter.” 

Max,  Gabriel.  (Ger.)  This  artist  is  a prominent  figure  in  the 
present  Munich  school.  We  find  no  note  of  the  more  ordinary  facts 
of  his  life,  but  whenever  his  name  is  mentioned  by  the  writers  upon 
German  art  of  to-day,  his  power  and  originality  are  admitted  and  ad- 
mired. Many  of  his  works  are  tragic  in  the  extreme.  That  called 
“ Gretchen  ” seems  to  show  forth  the  whole  experience  of  Marguerite 
both  in  this  world  and  the  next ; it  is  a wonderful  conception  mar- 
velously carried  out,  and  is  said  to  be  a favorite  picture  with  the 
artist  himself.  Among  his  other  works  are,  “ The  Lion's  Bride,” 
“ The  Young  Christian  Marhu,”  “ The  Anatomist,”  “ The  Melancholy 
Nun,”  etc.  Early  in  1878  he  exhibited  at  Vienna  “The  Infanticide.” 
It  represents  a mother  kneeling  on  the  bank  of  a stream,  and  wildly 
fondling  the  body  of  the  baby  she  is  about  to  cast  into  the  water.  In 
“ L’ Art  ” we  read  ; — 

“The  face  of  the  woman  i.<!  bowed  down  and  half  concealed,  in  a manner  that  leaves 
much  to  be  divined,  but  the  impression  is  none  the  less  painful  and  profound.  Concern- 
ing the  execution,  and  especially  the  color,  we  are  assured  that  this  painting  is  superior 
to  all  those  works  of  this  artist  which  have  before  made  a sensation  in  Germany.” 

His  “ Light  ” is  in  the  possession  of  E.  B.  Haskell  of  Boston. 

” When  we  come  to  Gabriel  Max  we  find  a genius,  to  the  analysis  of  whose  masterly 
conceptions  we  should  much  prefer  devoting  a chapter  instead  of  a few  meager  para- 
graphs. In  respect  of  mental  grasp  and  imagination,  combined  with  technical  ability, 
we  should  give  the  first  place  in  the  contemporary  Munich  school  to  Max  and  Bocklin. 
Artists  and  public  are  alike  agreed  upon  the  surpassing  character  of  Max’s  works,  al- 
though, of  course,  some  prefer  one  painting  to  another,  while  the  rather  morbid  ten- 
dency of  his  subjects  makes  these  paintings  better  suited,  perh.aps,  to  exhibition  in  a 
public  gallery  than  in  a private  drawing-room.” — S.  G.  W.  Be.xj.vmix,  Contemporary 
Art  in  Europe. 

May,  Edward  Harrison,  N.  A.  (Am.)  Born  in  England.  V'as 
taken  to  America  when  a child,  and  displayed  artistic  tastes  and 
talents  at  an  early  age.  As  a young  man  he  studied  civil  engineering, 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  101 


but  soon  abandoned  that  profession  for  the  hrush.  In  the  beginning 
of  his  career  he  was  a portrait-painter,  later  devoting  himself  to  the 
production  of  historical  and  genre  pictures.  He  was  a pupil  of  Hunt- 
ington in  New  York,  and  in  1851  he  entered  the  studio  of  Couture 
in  Paris.  One  of  his  first  works  was  a panorama  of  “ The  Pilgrim’s 
Progress,”  successfully  exhibited  throughout  the  United  States. 
Much  of  Mr.  May’s  professional  life  has  been  spent  in  Europe ; at 
present  (1878)  he  is  living  in  Paris.  He  was  made  a member  of  the 
National  Academy  of  Design  in  1876,  but  his  pictures  are  rarely  ex- 
hibited there.  In  1869  he  sent  “Louis  XIV.  at  Marly”;  in  1876, 
“May  and  December”;  in  1878,  “ Teresina.”  Among  the  better 
known  of  his  earlier  works  are,  “ Cardinal  Mazarin  taking  Leave  of 
his  Picture  in  the  Louvre,”  “ Michael  Angelo  leaving  the  Vatican  in 
Anger,”  “ Lady  Jane  Grey  taking  Leave  of  the  Governor  of  the 
Tower,”  “ Columbus  making  his  Will,”  “ King  Lear  and  Cordelia.” 
“Young  Woman  at  her  Toilet,”  “Greek  Slave,”  “Esmeralda,” 
“ Scene  from  Waverley,”  “ Death  of  a Brigand  ” (which  took  a gold 
medal  at  the  Paris  Salon  of  1855,  and  was  exhibited  at  the  National 
Academy,  New  York,  a few  years  later),  and  “Francis  I.  lamenting 
the  Death  of  his  Son  ” (of  which  Theophile  Gautier  said,  “ The 
whole  painting  is  well  executed,  the  composition  very  good”).  In 
the  Paris  Salon  of  1866  he  exhibited  a portrait  of  M.  E.  Laboulaye 
(belonging  to  the  Union  Club,  New  York)  and  “ Amy  Robsart  et  le 
Colporteur”;  in  1868  he  sent  “ Ophelia  ” and  “La  Lecture’’;  in 
1869,  portrait  of  Anson  Burlingame  ; in  1870,  “ Arviragus  bearing 
the  Body  of  Imogen,”  a scene  from  Shakspere’s  “ Cymheline  ” ; in 
1872,  portrait  of  Gen.  John  Meridith  Read  ; in  1873,  “ Mary  Magda- 
len at  the  Sepulcher”  ; in  1874,  “Fin  de  la  lecture”  and  “Sou- 
venir de  la  Commune”  ; in  1876,  “ Une  Alsacienne”  ; and,  in  1877, 
“ Antonia.”  He  has  painted  many  portraits,  ranking  very  high  in 
that  branch  of  the  profession. 

Mayer,  Etienne-Francois- Auguste.  (FV.)  Born  at  Brest,  1805. 
Officer  of  the  Legion  of  Honor.  This  painter  has  treated  some 
genre  subjects  and  executed  some  portraits,  but  he  is  essentially  a 
painter  of  marine  views.  He  has  made  numerous  voyages  for  the 
purpose  of  study.  His  “Taking  of  the  Island  Episcopia”  is  at  Ver- 
sailles. 

Mayer,  Karl.  {Ger.)  Born  at  Vienna  (1810- 1876).  Professoral 
the  Academy  of  Vienna.  Knight  of  the  Orders  of  Francis  Joseph  and 
of  Gregory  the  Great.  Studied  at  the  Academy  of  Vienna  under  Pro- 
fessor Eselhofer.  He  made  sketching-tours  in  various  parts  of  Germany 
and  Switzerland,  and  passed  some  time  in  Munich,  where  he  studied 
diligently.  Later,  he  settled  in  Vienna.  In  1842  he  gained  a prize 
at  Vienna  for  his  picture  of  “Prometheus  and  Pandora,”  which  ena- 
bled him  to  go  to  Rome,  in  which  city  he  lived  six  years,  only  leaving 
it  for  occasional  excursions.  He  was  much  at  the  house  of  Count  von 


102  ARTISTS  OF  THE  NiyETEENTII  CENTURY. 


Liitzow,  where  he  was  an  honored  guest.  Mayer  painted  portraits, 
historical  subjects,  and  landscapes. 

Mayer,  Eduard.  {Ger.)  Born  at  Asbacher  Hutte,  1812.  He  re- 
ceived the  title  of  Professor  from  the  Grand  Duke  of  Bavaria,  and 
medals  at  Paris  and  Berlin.  Pupil  of  the  Berlin  and  Dresden  Acad- 
emies, and  of  Bauch  and  Rietschel.  He  also  at  Paris  was  under 
David  d’ Angers.  In  1842  he  settled  at  Rome.  At  the  National  Ber- 
lin Gallery  is  “ Mercury  attacking  Argus,”  life-size  figures  in  marble. 

Mayer,  Frank  B.  [Am.)  Born  in  Baltimore,  1827.  He  studied 
under  Alfred  J.  ililler  of  Baltimore,  and  in  Paris  under  Gleyre  and 
Brion.  His  professional  life  has  been  spent  in  Baltimore,  Paris,  and 
Annapolis,  where  his  studio  now  is.  He  has  traveled  extensively  in. 
Europe  and  the  United  States,  in  1851  visiting  the  Dacotah  Indians 
in  the  Territory  of  Minnesota  under  peculiarly  favorable  circum- 
stances for  observing  their  festivals  and  manners.  He  made  a large 
collection  of  life  studies  of  the  Indian  character,  with  a journal  of  his 
experiences  among  them,  a few  of  which  were  published  in  School- 
craft’s “ History  of  the  Indian  Tribes.”  The  majority  of  these 
sketches,  which  are  still  in  Mr.  Mayer’s  possession,  will  no  doubt  at 
some  future  time  be  of  much  historic  value.  During  a residence  in 
Paris  from  1864  to  ’69  he  exhibited  in  the  Salons  there  ; before  and 
after  that  time,  in  New  York,  Philadelphia,  "Washington,  and  Baltimore. 
Among  his  crayon  heads  are  those  of  Chief  Justice  Taney,  J.  Y.  L. 
McMalion,  Mayor  Latrobe  of  Baltimore,  and  others.  His  “ Indian 
Thanksgiving  ” belongs  to  S.  G.  Wyman  ; “ The  Attic  Philosopher  ” 
and  “A  Marine  Painter,”  to  C.  L.  Mayer;  “The  Continentals,”  to 
G.  B.  Coale  ; “ Waiting  Orders,”  to  J.  "W.  McCoy,  all  of  Baltimore  ; 
“ Maryland  in  1750,”  to  the  Peabody  Institute  of  that  city.  “ The 
Nineteenth  Century  ” belongs  to  Parke  Godwin  ; “ The  Boar’s  Head,” 
to  Edward  G.  Donelly  of  New  York;  “The  King’s  Jester  ” was  in 
the  collection  of  the  late  Copley  Greene  of  Boston ; George  Riggs  of 
Washington  has  “ The  Cavalier  ” and  “ A Lost  Letter  ” ; and  W.  H. 
Herriman,  Rome,  “A  Tailor  in  1500.” 

“ The  Continentals”  and  “ The  Attic  Philosopher”  were  at  the  Cen- 
tennial E.xhibition  in  Philadelphia  in  1876,  for  which  he  received  a 
medal  and  diploma. 

Mayer,  Constant.  (Fr.-Am.)  Bom  in  Besangon  (Doubs),  France, 
1831.  Chevalier  of  the  Legion  of  Honor.  He  went  to  Paris  as  a 
youth,  entering  I’Ecole  des  Beaux-Arts,  and  studying  under  Leon 
Cogniet  for  some  time.  He  lived  and  painted  in  that  city  until  his 
removal  to  New  York  in  1857,  where  the  rest  of  his  profe.ssional  life 
has  been  spent,  with  the  exception  of  yearly  visits  to  Paris.  His 
specialty  has  been  life-sized  genre  pictures,  which  have  been  exhibited 
in  nearly  all  the  chief  cities  of  America,  and  have  been  very  popular. 
Many  of  them  have  been  chromoed,  photographed,  and  engraved.  He 
is  a frequent  contributor  to  the  French  Salon,  of  which  he  is  Hors  Con- 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  103 


cours.  He  received  the  Cross  of  the  Legion  of  Honor  in  1869.  Among 
the  better  known  of  Mr.  Constant  Mayer’s  works  are,  “ Consolation,” 
painted  in  1864  (belonging  to  Mrs.  Frodsham)  ; “ Eecognition,”  in  1865 
(belonging  to  Joseph  Stiner,  New  York) ; “ Good  Words,”  in  1866  (in 
the  collection  of  MacGregor  Adams  of  Chicago)  ; “ Love’s  Melan- 
choly ” (the  property  of  Mr.  S.  M.  Scheffer,  New  York)  ; “The  Con- 
valescent ” (owned  in  Montreal)  ; “ Eiches  and  Poverty  ” ; “ Maud 
Muller  ” ; “ Street  Melodies  ” (belonging  to  George  King,  New  York)  ; 
“The  Organ-Grinder”  (to  Isaac  Van  Arden  of  Brooklyn);  “The 
Witch’s  Daughter  ” (to  Mrs.  Bergholz,  New  Eochelle) ; “ The  Oracle 
of  the  Field  ” (to  M.  de  Lizardi  of  New  Orleans) ; “ The  Song  of 
the  Shirt  ” ; “ The  Dream  of  Love  ” ; “ Prose  and  Poetry  ” ; etc. 

In  portraiture  he  has  been  very  successful,  painting  Mme.  de  Li- 
zardi, Lady  of  Honor  to  the  ex-Empress  Carlotta,  General  Grant, 
General  Sheridan,  and  many  people  of  distinction  in  this  country  and 
France.  His  “ Love’s  Melancholy  ” was  at  the  Centennial  Exhibition 
of  1876. 

“ The  whole  stoi’y  of  the  picture  [‘  Maud  Miiller  ’]  is  of  course  toid  in  tlie  face  of  tlie 
girl,  but  so  is  it  compieteiy  related  in  her  two  eyes  only Tlie  drawing  of  the  pic- 

ture is  true  and  good,  hut  this  is  not  remarkable  in  Mr.  Mayer's  pictures.  More  notice- 
able is  the  skill  exliibited  in  the  coloring,  — the  foliage,  running  stream,  and  rock  in  tlie 
foreground,  expressly  being  master  strokes  of  art,  — the  whole  making  one  of  the  most 
pleasing  scenes  which  have  left  the  easels  of  our  painters  for  a long  time.”  — Boston 
Transcript,  October  16,  1S67. 

“ Constant  Mayer's  ‘ Orphan’s  Morning  Hymn  ’ is  invested  with  an  expression  of 
sentiment  which  reflects  the  highest  credit  upon  his  genius.  The  picture  gives  no  evi- 
dence of  sentimentalism,  but  relies  for  its  force  upon  a simple  story  drawn  from  real 
life,  which,  though  sad,  will  be  studied  with  interest  by  all  lovers  of  art.”  — Art  Journal, 
May,  1875. 

“ Taken  as  a whole  the  conception  is  excellent,  the  drawing  is  thoroughly  careful,  the 
accessories  are  painted  with  rare  fidelity,  and  the  color,  altliough  low  in  tone,  is  so 
thorouglily  pleasing  that  we  should  be  pained  to  see  a single  ‘ last  touch  ’ allowed  to  dis- 
turb the  balance.  Unquestionably  Mr.  Mayer  has  painted  in  ‘ The  Song  of  the  Shirt  ’ one 
of  his  very  best  pictures,  and  illustrated  one  of  the  finest  poems  of  the  language  with 
Infinitely  greater  faithfulness  than  he  would  have  shown  by  slavish  adherence  to  its 
technicalities.”  — Aldine,  November,  1875. 

Mayer,  Liezen.  (Hungarian.)  Pupil  of  Piloty,  and  a resident  of 
Munich.  He  paints  scenic  and  melodramatic  subjects.  “ Maria 
Theresa  of  Austria  nursing  the  Poor  Woman’s  Child  ” is  one  of  his 
best-known  works.  He  has  made  fifty  illustrations  of  “ Faust,”  the 
cartoons  of  which  were  exhibited  in  London,  and  there  attracted  con- 
siderable attention.  In  Munich  they  received  a reward,  and  many 
encomiums,  when  first  exhibited.  They  have  been  engraved  and  pub- 
lished in  an  attractive  form. 

Maynard,  George  W.  (Am.)  A native  of  Washington.  He 
was  a pupil  of  Edwin  White  in  Florence,  studying  also  in  Eome  and 
in  the  Eoyal  Academy  of  Antwerp.  In  1878  he  had  a studio  in 
Paris.  He  has  turned  his  attention  largely  to  the  painting  of  por- 
traits. In  1876  he  sent  to  Philadelphia  “ Vespers  at  Antwerp  ” and 


104  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


“ 1776.”  To  the  Paris  Exposition  of  1878  he  contributed  a portrait, 
and  to  the  Society  of  American  Artists  in  New  York,  in  the  same 
year,  “ The  Water-Carriers  of  Venice.”  Among  his  later  works  ex- 
liibited  in  America  may  be  mentioned  “ Musical  Memories,”  “ Dolce 
far  Niente,”  and  a “ Venetian  Court.” 

McCord,  G.  Herbert.  (Am.)  Born  in  New  York,  1849.  He 
studied  art  under  Col.  James  Eairman  in  1866,  and  has  spent  his 
professional  life  in  his  native  city  and  Brooklyn,  making  sketching- 
tours  through  New  England,  Canada,  Florida,  and  as  far  west  as  the 
Upper  Mississippi.  He  first  exhibited  at  the  National  Academy 
about  1870,  and  frequently  since  that  time.  He  was  made  a member 
of  the  Artists’  Fund  Society  in  1877.  Among  his  more  important 
works  are,  “ Sunnyside,”  the  home  of  Washington  Irving,  exhibited 
at  the  Brooklyn  Art  Association,  Philadelphia  Academy  of  Fine  Arts, 
at  the  Palette  Club,  New  York,  in  Chicago,  and  elsewhere  ; *■  The  Cave 
of  the  Winds,  Niagara  ” (belonging  to  Mr.  Jones,  President  of  the 
Board  of  Education,  Brooklyn);  “Twilight  Reverie”  (N.  A.,  1878); 
and  others. 

“ ' Sunnyside  ’ is  charming  in  its  lights  and  shadows.  The  house  is  after  the  Dutch 
style,  and  in  its  lovely  hiding-place  concealed  ’neath  the  o’ergrowing  ivy  and  sur- 
rounded by  arching  tree-tops,  it  seems  just  the  spot  of  all  others  which  the  imaginative 

Irving  would  select Mr.  McCord’s  picture  of  ‘ Sunnyside  ’ derives  its  noticeable 

feature  of  vividness  from  the  fact  that  it  was  painted  from  nature.  The  road,  the  trees, 
the  house,  are  all  so  real  that  the  observer  can  but  entertain  a feeling  akin  to  actual 
entrance  upon  the  grounds.”  — Brooldyn  Union,  June  1,  1876. 

“ The  artist  [Mr.  McCord]  has  succeeded  very  creditably  in  describing  the  repose  of 
the  locality,  and  at  the  same  time  adhering  to  its  literal  character  [‘  Sleepy  Hollow,’ 
Phil.  Acad.,  1877].  It  is  a picture  worthy  of  notice.”  — Art  Journal,  June,  1877. 

McEntee,  Jervis,  N.  A.  (Am.)  Bora  at  Roundout,  N.  4 .,  1828. 
He  began  the  study  of  art  in  the  city  of  New  Tork,  in  1850,  under 
F.  E.  Church.  A few  years  later  he  opened  a studio  of  his  own,  and 
was  elected  a full  member  of  the  National  Academy  in  1861.  In 
1869  he  visited  Europe,  spending  some  months  in  the  galleries  of  the 
art  centers  of  the  Continent,  and  making  a sketching-tour  in  Italy 
and  Switzerland. 

Among  McEntee’s  earlier  works  may  be  mentioned,  “ Autumn 
Leave!?,”  “ Indian  Summer,”  “ October  in  the  Catskills,”  and  “ The 
ilelancholy  Day,”  exhibited  at  the  National  Academy  in  1861  (upon 
the  strength  of  which  he  was  elected  Academician).  This  picture 
(purchased  by  the  late  James  A.  Suydam)  was  bequeathed  to  the 
National  Academy.  In  1867  he  sent  to  the  National  Academy, 
“November  Afternoon,”  “Virginia  in  1863”  (belonging  to  Cyrus 
Butler),  and  “The  Last  of  October”  ; in  1868,  “November  Land- 
scape ” ; in  1869,  “ The  IMelancholy  Days  have  come”  and  “Autumn 
Twilight”;  in  1870,  “Venice”  and  “October  Snow”;  in  1871, 
“ Scribner’s  Mill  ” (belonging  to  Robert  Gordon)  and  “ October  After- 
noon in  the  Catskill  Mountains”;  in  1874,  “Cape  Ann,”  “Solitaire,’' 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  105 


“A  Wood  Path”  (belonging  to  Henry  James),  and  “ Dean’s  River  ” ; 
in  1875,  “Psestum”  (belonging  to  Henry  Holt),  “ Ginevra,”  and 
“Saturday  Afternoon”  ; in  1876,  “ The  Closing  Year,”  “ An  Autumn 
Idyl,”  and  “A  Song  of  Summer”  ; in  1877,  “And  the  Year  smiles 
as  it  draws  near  its  Death”  and  “Winter  in  the  Mountains”  ; in 
1878,  “ Over  the  Hills  and  Far  Away.”  McEntee  sent  to  the  Paris 
Exposition  of  1867,  “Autumn”  (belonging  to  Robert  Hoe)  and  “The 
Last  of  October.”  He  had  several  pictures  in  the  Philadelphia  Exhi- 
bition of  1876,  commended  by  the  judges  for  artistic  excellence  ; and 
of  his  “ November,”  at  the  Royal  Academy,  London,  in  1872,  the 
London  Times  said  ; — 

“ Tins  picture  shows,  what  is  so  rare,  an  imaginative  feeling  of  the  subject 

The  picture  is  too  low  in  tone  and  too  somber  in  sentiment  to  attract  much  attention, 
but  it  deserves,  and  will  reward,  study,  and  it  affixes  a mark  in  the  memory  to  the  art- 
ist’s name.” 

His  “ Winter  on  the  Ice  ” belongs  to  J.  W.  Pinchot ; his  “ Autumn 
Scene,”  to  Henry  G.  DeForest.  His  “ Danger  Signal”  and  “ Novem- 
ber Days  ” were  in  the  collection  of  John  Taylor  Johnston.  To  Paris, 
in  1878,  he  sent  “ Falling  Leaves”  and  “An  Autumn  Idyl.” 

‘*Mr.  McEntee  was  represented  by  ^October  Afternoon,’  * November,’  ‘ The  Woods 
of  Ashokan,’  ‘Frosty  Morning,’  and  ‘Late  Autumn.’  These  pictures  are  all  charac- 
terized by  great  sincerity  and  decided  poetic  feeling.  They  evince  a subdued  yet  intense 
enjoyment  of  those  phases  of  natui'e  that  are  tinctured  with  melancholy,  and  which  are, 
therefore,  none  the  less  beautiful.  This  artist’s  style  is  expressive  and  sensitive,  and 
within  the  scope  of  his  stronger  sympathies,  mature  and  confident.  His  pictures  evince 
a profound  insight  that  is  intolerant  of  that  Denner-like  portraiture  in  landscape  which 
aims  at  minuteness  of  imitation.  They  possess  qualities  of  excellence  that  in  some  re- 
spects are  not  surpassed  in  this  branch  of  art.”  — Prof.  Weir’s  Official  Report  of  the 
American  Centennial  Exhibition  of  1876. 

“ McEntee  manages  to  give  with  a few  tints  a finely  felt  rendering  of  nature  at  a cer- 
tain season  of  the  year  [‘A  Nipping  and  an  Eager  Air,’  water-color,  N.A.,  1877].  — New 
York  Times,  January  22,  1877. 

“ In  this  picture  [‘  Autumn,’  N.  A.,  1877],  as  in  others  of  this  class,  the  intensity  of  Mr. 
McEntee’s  liking  for  this  phase  of  the  year  leads  him  to  emphasize  his  color  too  much, 
to  give  his  landscapes  tints  which  are  too  freely  drawn  from  his  own  ideas.”  — Art 
Journal,  May,  1877. 

M'Donald,  John  B.  {Brit.)  Born  in  Morayshire,  Scotland,  1829. 
He  entered  the  schools  of  the  Royal  Scottish  Academy  under  Robert 
Scott  Lauder  in  1852,  and  has  since  been  a resident  of  Edinburgh. 
He  has  exhibited  frequently  at  the  Royal  Scottish  Academy  for  the 
last  quarter  of  a century  (being  elected  an  Associate  in  1862,  and 
a full  Member  in  1877)  pictures  in  oil  and  water  colors.  Among 
the  better  known  of  his  works  are,  “ The  Arrest  of  a Rebel,”  “ In 
Venice,”  “ Landscape  with  Sheep,”  “ Prince  Charlie  leaving  Scot- 
land,” “ Dougald  Dalgetty’s  Interview  with  Montrose,”  “ In  Hiding,” 
“ The  Falls  of  the  Garry,”  etc.  Several  of  his  works  have  been 
engraved. 

“The  large  canvas  'Strathyre'  [R.  S.  A.,  18741,  by  J.  B.  M'Donald,  takes  us  by  sur- 
prise, so  grand  is  it  in  the  sweep  of  hill  and  hollow  beyond  all  his  previous  efforts.  This 
5* 


lOG  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


nohle  work,  albeit  pronounced,  in  certain  circles,  hard  and  deficient  in  atmospheric 
depth,  makes  a powerful  impression  on  the  mind.’*  — Art  Journal,  April,  1874. 

Meade,  Larkin  G.  (Am.)  A native  of  New  England.  Bom  in 
1835.  He  displayed  artistic  talents  at  an  early  age,  and  through  the 
generosity  of  Mr.  Longworth  of  Cincinnati,  who  was  attracted  by 
his  promising  work,  he  was  enabled  to  devote  himself  to  art  as  a 
profession.  He  was  a pupil  of  Henry  Kirke  Brown  in  1853,  ’54,  and 
’55.  In  1862  he  went  to  Italy,  settling  in  Florence.  Returning  to 
America  at  the  end  of  three  years,  he  exhibited  in  New  York,  “ 'The 
Retirrned  Soldier  ” (life-size),  “ Echo,”  “ La  Contadinella,”  “ The 
Thought  of  Freedom,”  etc.  Among  the  more  important  of  his  later 
works  are  four  bronze  groups  representing  “ Infantry,”  “ Cavalry,” 
“Artillery,”  and  “ The  Navy,”  of  colossal  proportion,  and  the  statue 
of  Lincoln  for  the  National  Lincoln  Monument,  at  Springfield,  111. 
His  statue  of  Ethan  Allen  is  in  the  National  Art  Gallery,  in  the  Capi- 
tol at  Washington.  His  statue  of  “Vermont  ” (19  feet  high)  is  upon 
the  dome  of  the  State  House  at  ilontpelier,  and  his  “ Columbus  ap- 
pealing to  Isabella  ” (in  marble)  belongs  to  D.  0.  Mills,  President  of 
the  Bank  of  California.  The  greater  part  of  his  professional  life  has 
been  spent  in  Italy. 

“ Mr.  Lincoln  is  represented  as  having  just  signed  the  Proclamation  of  Emancipation, 
and  in  his  left  hand  he  holds  a scroll  marked  ‘ Proclamation,’  in  the  right  hand  he  holds 
a pen.  The  faithfulness  of  the  portrait  in  every  feature  rivets  the  attention  of  the  ob- 
server. The  stooping  shonldei’s,  the  forward  inclination  of  the  head,  manner  of  wearing 
the  hair,  the  protruding  eyebrows,  the  nose,  the  mouth,  with  the  prominent  and  slightly 
drooping  lower  lip,  the  mole  on  the  left  cheek,  the  eyes,  far  back  in  the  head,  the  calm, 
earnest,  half-sorrowful  expression  of  the  face,  — all  recall  to  the  minds  of  those  who  knew 
him  well  the  same  Lincoln  who  lived  and  moved  among  us  until  called  to  enter  upon 
his  grand  career.”  — S(.  Louis  Glohe,  October  4,  1S74. 

“The  tiret  contribution  of  Vermont  to  the  National  Statuary  Hall,  being  a heroic-sized 
statue  of  Col.  Ethan  Allen  of  Revolutionary  fame,  was  placed  in  the  hall  on  Saturday 
last.  It  is  the  production  of  Larkin  G.  Meade  of  Vermont,  at  present  residing  in  Flor- 
ence, Italy,  where  the  statue  was  made.  The  cost  was  $ 10,000.  It  represents  Colonel 
Allen  as  he  appeared  when  demanding  the  surrender  of  Fort  Ticonderoga  ‘ in  the  name 
of  the  Great  Jehovah  and  the  Continental  Congress.’  The  attitude  of  the  statue  is  very 
spirited,  much  more  so  than  that  of  any  other  in  the  hall.”  — Washington  Evening  Star, 
February  28, 1S76. 

Meissonier,  Jean  Louis  Ernest.  (Fr.)  Born  at  Lyons  about  1813. 
Commander  of  the  Legion  of  Honor,  1867.  Member  of  the  Institute, 
1861.  One  of  the  eight  grand  medals  of  honor  (E.  U.),  1867.  He 
Avent  Avhen  quite  young  to  Paris,  and  was  for  some  time  a pupil  of 
Leon  Cogniet.  He  is  the  first  French  miniaturist  of  genre  subjects 
who  has  attained  celebrity.  Perhaps  he  can  receive  no  higher  praise 
than  to  be,  as  he  constantly  is,  compared  to  Terbuig  and  Metzu.  He 
has  been  fully  appreciated  from  the  commencement  of  his  career,  and 
receives  honors  and  money  Avithout  stint.  His  Avorks  are  too  numer- 
ous to  alloAV  of  a complete  list  here.  He  first  exhibited,  in  1836, 
“ The  Little  Messenger.”  In  the  Luxembourg  are  “ Napoleon  III.  at 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  107 


Solferino  ” (45  by  75  centimeters),  on  wood  (1864),  and  “ The  Emperor 
surrounded  by  his  Staff”  (12  by  7),  also  on  wood.  “La  partie  des 
boules  ” (1848)  is  regarded  as  a chef-d’oeuvre ; “ A Dream  ” (1855)  was 
j)urchased  by  the  Emperor  for  20,000  francs,  and  presented  to  the  late 
Prince  Albert ; the  “ Cavalry  Charge”  (1867)  was  purchased  by  Mr. 
Probasco  of  Cincinnati,  and  it  is  said  that  he  paid  150,000  francs  for 
it.  At  the  Johnston  sale.  New  York,  1876,  the  “ Soldiers  at  Cards,” 
from  the  Demidoff  Collection  (8  by  10),  painted  in  1860,  sold  for 
$ 11,500  ; and  “ Marshal  Saxe  and  Staff”  (8  by  9),  1866,  for  $8,600. 
At  the  Latham  sale.  New  York,  1878,  “The  Amused  Cavalier”  (7| 
by  5)  sold  for  $ 3,100.  In  “ L’Art,”  January,  1876,  there  is  an  article 
devoted  to  his  picture  called  “ 1807,”  which  was  purchased  by  the  Late 
Mr.  Stewart  of  New  York  for  more  than  300,000  francs.  It  is  said 
that  the  artist  worked  on  it  fifteen  years,  and  as  regards  size  it  is  the 
most  important  of  his  works.  At  the  Salon  of  1877  Meissonier  exhib- 
ited a portrait  of  Dumas  ; small  figure,  about  a foot  in  height,  sitting 
in  a chair,  with  the  legs  crossed  and  the  hands  folded  on  the  edge  of 
a table,  which  is  covered  with  books  and  papers.  He  has  executed 
some  illustrations  for  books,  such  as  “ Les  Frangais  Peints  par  eux- 
memes,”  “La  Comedie  Humaine”  (Balzac),  and,  in  company  with 
Francois  and  Daubigny,  an  edition  of  “ Paul  and  Virginia.” 

“ The  immense  reputation  of  Meissonier  is  justified  by  tlie  perfection  attained  by  him 
in  the  kind  of  art  lie  has  chosen.  Perfection  in  art  of  any  kind  is  so  rare,  that  when  we 
meet  with  it  we  are  sure  to  take  notice  of  it ; and,  though  Meissonier’s  jiictures  are  very 
small,  they  are  not  likely  to  be  passed  over  in  the  most  crowded  exhibitions.  The  mere 
fact  of  their  littleness  seems  to  have  helped  their  reputation  by  increasing  the  marvel  of 
the  work ; but  there  is  nothing  new  or  exceptional  in  this  : the  engravers  of  book  illustra- 
tions and  the  painters  of  miniatures  have  long  worked  on  a scale  still  smaller.  What 
really  is  new  and  exceptional  in  Meissonier  is  a certain  largeness  of  grasp  and  vivacity  of 
accent,  this  vivacity  degenerating  into  excessive  staccato  at  times,  when  staccato  is  not 
wanted.  Meissonier  is  said  to  be  in  the  habit  of  making  studies  the  size  of  life,  in  order 
to  keep  his  breadth  of  treatment.  This,  at  least,  is  a proof  of  his  firm  belief  in  a doctrine 
very  generally  received  amongst  artists,  — that  in  order  to  paint  on  a small  scale  really 
well,  you  must  be  able  to  paint  on  a larger.  Meissonier  is  a master  of  the  male  figure, 
and  has  lately  studied  the  horse  for  his  pictures  of  Solferino  and  the  ‘Campagne  de 
France’ ; bathe  has  generally  been  careful  to  avoid  women,  — probably  because  it  is  not 
easy  to  render  a female  face  with  that  sharp  accentuation  which  has  become  habitual  with 
him.  I like  him  best  in  such  pictures  as  the  ‘ Lecture  chez  Diderot,’  where  gentlemen 
of  the  last  century  meet  in  conversation  : or  in  such  single  studies  as  the  ‘ Smoker,* 
which,  for  subtlety  of  (juiet  expression,  is  as  good  as  the  best  faces  of  Rembrandt,  — a.s 
good,  for  instance,  as  the  portrait  of  Burgomaster  Six.  Sometimes  the  expression  is 
flushed  rather  far,  and  slightly  verges  on  caricature,  — as  in  the  picture  of  an  ofticer  in  the 
last  century  giving  his  orders,  called  ‘ L’Ordonnance.*  Meissonier  is  not  a man  of  any 
grandeur  or  sublimity  of  genius,  and  he  has  apparently  no  tenderness,  — a defect  he 
shares  with  G^iome : but  his  keen  observation,  and  ready,  accurate  hand,  have  made 
him  king  of  his  own  realm  in  art,  and  his  work,  I suppose,  will  never  diminish  in  money 
value,  because  such  work  must  always  be  excessively  rare.  ” — Hamerton,  Contemporary 
French  Painters, 

“ Meissonier  is,  perhaps,  the  most  popular  artist  of  our  time.  If  he  has  a picture  at 
the  Salon,  the  crowd  first  ascertain  where  it  is,  and  the  obstruction  is  such  that  it  is  not 


108  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


always  easy  to  approach  it.  TVlien  his  works  make  a part  of  a public  sale,  all  who  oc- 
cupy themselves  with  painting  rush  to  the  Hotel  Drouot.  His  reputation  is  European, 
and  volumes  could  be  tilled  with  articles  which  the  reviews  and  journals  have  conse- 
crated to  him.  Edmond  About  has  given  in  resume,  with  his  usual  spirit,  the  causes 
which  have  determined  this  prodigious  success.  ‘ He  made  his  debut,’  says  he,  ‘ by  some 
microscopic  pictures  ; one  was  obliged  to  examine  them  when  near  by  ; it  was  then  only 
that  we  perceived  Meissonier.  The  most  severe  critics,  the  magnifying-glass  in  the 
hand,  acknowledged  that  no  one  drew  better  than  he,  that  his  figures  were  irreproach- 
able and  his  draperies  perfect ; that  his  Liliputian  personages  wanted  neither  form,  nor 
dignity,  nor  elegance.  He  painted  true  gentlemen,  as  distinguished  as  Lauzun  and  as 
slight  as  scarabei ; he  stowed  fifty  French  guards,  very  life-like  and  very  stirring,  on  a 
canvas  where  two  cockchafers  would  be  too  crowded.  He  surmounted  so  successfully 
the  enormous  difficulties  that  he  imposed  on  himself,  that  he  was  soon  at  ease  in  the 
narrowest  frame.’  Meissonier  has  painted,  in  truth,  some  subjects  with  several  figirres, 
and  even  some  battles,  but  he  oftener  makes  pictures  with  a single  figure,  and  he  knows 
how  to  captivate  the  attention  with  scenes  so  simply  conceived  that  a written  descrip- 
tion could  give  no  idea  of  them,  and  it  is  absolutely  necessary  to  see  them  in  order  to 

understand  their  value One  quality  which  Meissonier  possesses  in  a rare  degree  is 

the  research  into  the  intimate  character  of  the  time  in  which  he  makes  his  personages 
move.  It  is  not  a man  of  to-day  whom  he  clothes  with  the  vestments  of  another  time  ; 
there  is  a perfect  accord  between  the  physiognomy,  the  carriage,  the  costume  of  the  per- 
son represented  and  the  accessories  with  which  he  enriches  his  picture.  Above  all,  he 
never  forgets  the  principal  subject  in  the  decoration,  and  whatever  the  charm  of  the  de- 
tails which  make  a part  of  the  scene,  it  is  always  the  man  who  plays  the  principal  part, 
and  who  first  attracts  attention.  Meissonier  has  found  many  imitators  among  our 
young  artists,  who  think  to  follow  the  master  in  painting  microscopie  canvases  with  mi- 
nute care  : but  he  has  keptfor  himself  the  secret  of  interesting  by  insignificant  subjects, 
and  by  painting  largely  pictures  which  may  be  seen  through  a glass.”  — Res'K  Mexard, 
Gazette  des  Bcaux-Arts,  April,  1S73. 

“ This  eminent  artist  has  employed  in  his  genre  painting  all  the  serious  qualities  of 
grand  painting.  He  is  one  of  the  masters  of  this  day  who  can  counton  the  future,  whose 
works  have  an  assured  place  in  galleries  among  the  most  celebrated  ones.  ” — Th^ophiue 
Gautier,  Gazette  des  Beaia-Arts,  May,  1S62. 

“ The  little  and  marvelously  elaborated  pictures,  of  which  Meissonier  is  still  the  su- 
preme master  in  France,  were  unknown  as  an  object  to  French  painters  before  Meissonier 
won  so  much  consideration  for  his  successful  efforts  to  represent  Nature,  as  seen  through 
the  small  end  of  a telescope.  His  aim  was  a reaction  against  the  dominant  masters  of 
his  time  ; by  his  indefatigable,  tenacious  talent,  his  microscopic  vision,  he  was  enabled 
to  surpass  the  Dutch  masters  in  everything  but  color.  Every  form  of  excellence  in  art 
appeared  to  have  been  illustrated  in  French  painting  but  that  of  the  Dutch  school ; 
great  political  tragedies  in  Delaroche  ; military  events  in  Vernet ; the  drama  of  the  pas- 
sions in  Delacroix  ; classic  art  in  Ingres  ; the  ideas,  fancy,  imagination,  beauty,  pastoral 
art,  — all  in  a style  more  or  less  in  direct  descent  from  the  great  e.xamples  of  Italian  or 
classic  alt.  Meissonier,  without  an  idea,  without  a passion,  without  anjthing  but  a won- 
derfully trained  hand,  and  an  uncommon  perception  of  actual  objects,  applied  himself  to 
jiroduce  pictures  that  should  ‘ fiabbergast  ’ a public  tired  of  emotions  and  ideas  and  revolts, 
but  interested  in  everything  mechanical  and  laborious  and  obviously  conscientious.  He 
may  be  said  to  be  a Dutch  jiainter,  plus  the  instruction  of  the  jdiotograph.  He  was  not 
a pupil  of  r^icole  des  Beaux-Arts  ; and  yet  no  painter  of  the  imperial  school  has  carried 
further  the  science  of  his  art,  and  none  are  better  instructed  in  the  technical  means  to 
reach  the  object  of  his  work.  He  contests  with  Gerome  superiority  in  the  science  of 
representation  of  Nature  on  a small  scale.  His  pictures  compete  with  Gnome’s  at  the 
picture-dealers’  ; their  market-value  is  astounding  ; and  they  interest  the  mind  like 
clock-work,  like  the  weaving  of  Egyi)ti.in  linen,  like  photographs,  like  any  fine  and  suc- 
cessful exhibition  of  the  mechanical  talent  ....  Meissonier  is  an  example  of  a modem 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  109 


artist  wholly  independent  of  the  actual  life  of  his  time,  — an  artist  who  has  given  no  place 
to  woman  in  his  works,  no  place  to  the  ideal,  no  place  to  the  disturbing  facts  of  his 
own  epoch.  I know  of  but  one  picture  in  which  he  represents  a woman  — and  that 
woman  is  a dame  of  the  eighteenth  century  — and  her  gallant.  Comsuipmate  as  is  the 
executive  talent  of  Jleissonier,  he  cannot  be  taken  as  a type  of  the  artist.  His  aim  is  too 
limited,  his  purpose  too  material.  Absolutely  deficient  in  the  ideal,  absolutely  indiffereut 
to  all  the  consecrating  and  charming  and  beautifnl  elements  of  Nature  and  life,  he  is  but 
a consummate  picture-maker,  interested  in  the  most  prosaic  characters  and  showy  cos- 
tumes of  the  direct  epoch  of  modern  civilization.  His  works  are  objects  of  curiosity. 
Tlie  most  stupid  lover  of  pictures  can  use  his  ‘ glass ' to  magnify  tlie  minute  merits 
of  Meissonier’s  pictures,  and  deepen  his  sense  of  wonder  at  tlie  laborious  and  skillful 
hand  of  tlie  artist ; he  can  observe  his  marvelous  finish,  his  masterly  drawing,  his  bold 
touch,  his  completeness  of  representation,  and  so  have  the  flattering  satisfaction  of  being 
on  a level  with  the  aim  and  work  of  one  of  the  most  far-famed  of  modem  painters."  — 
Eugene  Benso.n,  Appletons’  Journal,  September  11,  1869. 

Philippe  Burty,  in  the  “ Gazette  des  Beaux- Arts,”  May,  1862,  speaks 
thus  : — 

“ The  etchings  of  Meissonier  are  few,  but  the  proofs  of  them  are  singularly  rare.  Save 
the  ‘Smoker*  and  that  which  we  publish  to-day,  and  which  is  unedited  [‘The  Ser- 
geaut-Eeporter ' there  is  scarcely  a cabinet  which  offei's  them  to  the  cmdosity  of 
amateurs.  They  are  engraved  with  an  extremely  fine  point,  one  would  almost  say  with 
the  point  of  a needle.  But  the  effect  is  large,  because  the  niceness  of  the  detail  loses 
itself  in  the  mass,  and  renders,  with  most  astonishing  skill,  the  appearance  of  eveiy- 
thing,  the  epidermis  of  each  object.” 

The  following  list  gives  the  titles  of  his  principal  etchings  : “ The 
Holy  Table”  (or  altar),  “The  Violin,”  “ Preparations  for  the  Duel,” 
“ Signor  Annibale,”  “ Monsieur  Polichinelle,”  etc.  At  the  Sale 
Wertheimber  in  Paris,  1861,  a small  panel,  27  by  21  centimeters, 
painted  in  1858,  representing  German  cavalrymen  in  a large  salon, 
jdaying  cards,  smoking,  etc.,  brought  28,000  francs,  and  was  purchased 
by  M.  Demidoff.  From  the  description  this  would  appear  to  be  the 
“ Soldiers  at  Cards  ” of  the  Johnston  sale,  but  the  Wertheimber  cat- 
alogue date  of  the  picture  is  1858,  and  the  Johnston  catalogue  date  is 
1860.  At  the  Lehon  sale,  Paris,  1861,  “ The  Painter  at  his  Easel  ” 
sold  for  11,200  francs.  At  a London  sale,  in  1872,  “ The  Sentinel,” 
an  exquisite  miniature  work,  sold  for  970  guineas.  At  the  Khalil 
Bey  sale,  1868,  “ The  Amateurs  of  Painting”  was  bought  by  M.  Say 
for  ^1,272. 

Meissonier,  Jean  Charles.  {Fr.)  Born  at  Paris.  Medal,  1866. 
Pupil  of  his  father.  At  the  Salon  of  1874  he  exhibited  “Le  fripier,” 
“ The  Convent  of  Saint-Barthelemy  at  Nice,”  and  “ The  Chaplain 
reading  to  the  Baron  ” ; in  1866,  “ In  taking  Tea  ” and  “ Leusen  and 
Eosine.” 

Melbye,  Antoine.  {Dane.)  Born  at  Copenhagen  (about  1822  - 
1875).  Chevalier  of  the  Legion  of  Honor.  He  studied  under  Eckers- 
berg  at  Diisseldorf,  and,  later,  in  Paris.  His  subjects  are  principally 
marines.  In  1867  he  exhibited,  at  the  Paris  Salon,  two  marine 
views  ; in  1865,  “The  Naval  Combat  of  Bothwell  on  the  Coast  of 
Scotland”;  in  1852,  “ Full  Sea”;  etc.  At  Berlin,  in  1876,  was  ex- 
hibited his  “ Moonlight  on  the  Bosphorus.” 


110  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


M^lingue,  Lucien.  {Fr.)  Bom  at  Paris.  Medal  of  first  class, 
1877.  Pupil  of  Cogniet  and  Gerome.  At  the  Salon  of  1877  he  ex- 
hibited “ The  Morning  of  the  10  Thermidor  an  II.,  1794”  and  a por- 
trait of  the  Commandant  T.;  in  1878,  “ Mademoiselle  de  Montpensier 
at  the  Bastille.” 

Mene,  Pierre-Jules.  {Fr.)  Bom  at  Arras.  Chevalier  of  the 
Legion  of  Honor.  Pupil  of  R.  Compare.  At  Philadelphia  he  exhib- 
ited “ A Falconer  on  Ilorseback”  and  “ A Hunter  and  Dogs,”  both  in 
bronze,  and  received  a medal.  At  the  Salon  of  1878  he  exhibited 
“ An  African  Hunter  ” (group  in  wax)  and  “ Toreador-matador  ” 
(group  in  bronze). 

Menzel,  Adolf-Frederic-Erdmann.  (Cer.)  Bom  at  Breslau, 
1815.  Member  of  the  Academies  of  Berlin,  Vienna,  and  Munich. 
Member  of  the  Royal  Society  of  Water-Color  Artists  of  Belgium. 
Knight  of  the  Order  of  Merit,  of  the  Legion  of  Honor,  and  of  Saint 
ilichael  of  Bavaria.  Many  of  the  pictures  of  this  painter  are  scenes 
from  the  life  of  Frederick  the  Great.  At  the  National  Gallery, 
Berlin,  are  “The  Round  Table  of  Frederick,  1750  ” and  a “Flute 
Concert  at  Sans-Souci,”  also  “ Modern  Cyclops.”  Menzel  has  also 
illustrated  the  works  of  this  monarch.  His  lithographs  are  quite 
numerous,  and  his  water-colors  are  much  admired.  Six  of  his  pic- 
tures were  exhibited  at  the  Paris  Exposition  of  1878. 

A writer  in  the  “ Zeitschrift  fiir  bildende  Kunst,”  1866,  says  of 
the  picture  of  the  “ Coronation,”  by  Menzel : — 

He  is  a decided  realist : his  attempt  is  to  give  tlie  moment  as  it  really  existed. 
Going  beyond  this,  in  any  measure,  lie  despises,  — so  despises  it,  even,  that  one  cannot 
fail  to  see  his  definite  intention  of  doing  sometliing  unlike  otliere.  ....  Menzel  is, 
judging  from  tlie  want  of  transparency,  especially  in  shadows,  no  real  colorist  Al- 
thougli  ills  teclinique  is  masterly,  and  tlie  costumes  [except  those  of  tlie  ladies],  the 
mantles  of  those  in  orders,  the  uniforms  with  their  embroideries,  and  all  the  furnishing 
of  tlie  apartment,  painted  with  boldness  and  largeness,  he  has  not  given  his  thought  to 
artistic  grouping,  or  beauty  of  lines  and  masses.  What,  then,  are  the  merits  of  this 
work,  which  we  liave  called  remarkable  from  the  beginning,  if  the  painter  has  ignored 
all  attempt  at  depicting  be.auty?  Menzel  certainly  will  not  allow  that  art  .and  beauty- 
have  any  connection  : for  him  the  essence  of  art  lies  in  characterization.  This  is  a a'ery 
one-sided  view,  but  when  it  is  illustrated  in  so  masterly  a manner  it  demands  respect, 
and  avhen  such  an  ai-tist  opposes  his  strength  to  us  ave  can  only  measure  it  by  itself. 
Menzel  has  given  us  something  remarkable  in  the  avay  of  portrait  heads,  but  in  the.se, 
also,  he  has  fallen  short  as  far  as  the  effect  of  beauty  is  concerned,  especially  in  the 
group  of  ladies,  ....  but  the  masculine  heads  are  all  the  more  true,  excellent,  and 
important.” 

“Very  much  .above  these  pretentious  works  it  is  proper  to  rank  the  simple  water- 
colors  of  Adolf  Menzel,  an  artist  of  Berlin,  — known  by  a series  of  picture.s  .and  designs 
consecrated  to  Frederick  II.  The  Exposition  at  Munich  shows  us  a dozen  charming 
works,  of  a more  modest  sort,  representing  varied  subjects,  denoting  a suppleness  of 
talent  and  a reunion  of  qinalities  quite  excejitional.  ‘ The  Return  of  Troops  to  Berlin 
.after  the  W.ar  of  1S66  ’ was  the  most  studied  of  these  compositions.  In  the  middle, 
through  a street,  the  conquerors  defile  under  a shower  of  bouquets  ; but  in  the  houses 
on  each  side  the  artist  has  grouped  the  contrasts  which  belong  to  such  a day,  — at  the 
left  all  is  joy  and  the  intoxication  of  triumph,  while  ou  the  right  the  wounded  are  re- 


autists  of  the  nineteenth  century.  Ill 


ceived  with  tenderness  and  surrounded  with  careful  attentions  ; aside,  some  poor  ones, 
dressed  in  mourning,  steal  away  from  the  general  joy  to  weep  for  tlieir  dear  ones  not 
here.  Let  us  also  mention,  as  two  wonders,  the  interiors  of  the  churclies  at  Innspruck 
and  Salzbourg,  by  the  same  artist.  Above,  vividly  lighted,  ai-e  white-  walls,  pictures, 
and  altars  resplendent  with  gilding  ; tlien,  by  insensible  degrees,  tlie  liglit  decreases, 
candles  lighted  burn  in  a mysterious  and  lukewarm  shade,  and  below  are  some  faithful 
ones,  women,  absorbed  in  their  prayers,  with  an  expression  of  silence  and  deep  medita- 
tion. In  place  of  the  heaviness  and  pretentiousness  which,  too  often,  we  have  pointed 
out  in  the  works  of  German  paintei-s,  we  find  here  a true  artist,  full  of  tact  and  taste, 
of  elegance  and  easy  grace,  and  wlio  would  worthily  sustain  all  comparisons  with  the 
best  of  our  French  masters.” — Emile  Michel,  lievue  des  Deux  Moiides,  December, 
1877. 

Mercad^,  Benito.  (Span.)  Born  at  Barcelona.  Medal  at  Paris 
in  1866,  and  at  Philadelphia,  1876,  where  he  exhibited  “ The  Trans- 
lation of  St.  Francis  of  Assisi,”  which  was  also  at  Paris  in  1866. 
Pupjil  of  the  School  of  Fine  Arts  at  Madrid.  In  the  Official  Report 
of  the  Judges  of  the  Philadelphia  Exhibition,  John  F.  Weir  saj’s  of 
this  picture  : — 

**  The  subject  is  treated  with  great  purity  of  feeling,  and,  indeed,  solemnity.  The  ex- 
pression of  the  heads  is  very  fine,  and  the  composition  simple  and  impressive.  The 
picture  is  cold  and  monotonous  in  color,  but  in  the  sincerity  of  its  aim  it  is  admirable.” 

Merci^,  Marius-Jean-Antoine.  (Fr.)  Born  at  Toulouse.  Chev- 
alier of  the  Legion  of  Honor,  1872.  Medal  of  Honor,  1874.  Pupil 
of  Jouffroy  and  Falguiere.  At  the  Salon  of  1877  he  exhibited  a plas- 
ter relief  of  “ The  Genius  of  the  Arts  ” (intended  for  the  giand  en- 
trance of  the  Louvre)  and  a marble  statuette  of  a “ Vanquished  Juno,” 
which  was  much  praised  by  Ch.  Timbal  in  the  “ Gazette  des  Beaux- 
Arts”;  in  1876,  a marble  statuette  of  “ David  before  the  Combat  ” and 
a bust  called  “ Flowers  of  May  in  1875,  “ Gloria  Victis  ! ” group  in 
bronze,  and  a bas-relief  from  La  Fontaine.  At  the  Luxembourg  is  his 
“ David”  (1872),  a statue  in  bronze. 

Merle,  Hugues.  (Fr.)  Born  at  Saint-Marcellin.  Chevalier  of 
the  Legion  of  Honor.  Pupil  of  L.  Cogniet.  At  the  Salon  of  1876 
he  exhibited  “Day  and  Night”  (a  fragment  of  a decoration)  and 
“II  Bambino”;  in  1874,  “ Pernette  the  Spinner”  (a  legend  of  Dau- 
phiny)  and  a “ Little  Bohemian  Girl”;  in  1873,  “ The  Right  Road” 
and  “A  Mad  Woman  ” (now  in  the  collection  of  Mrs.  H.  E.  Maynard 
of  Boston).  At  the  Salon  of  1878  he  exhibited  “ Odette  and  Charles 
VI.”  and  “ Charlotte  Corday.”  His  picture  of  “ The  Beggar  ” (1861) 
is  in  the  Lu.xembourg.  His  “ Asking  Alms  ” is  in  the  collection  of 
Jeremiah  Milbank,  New  York.  “The  Young  Christian,”  sold  in 
London  for  £ 332,  is  now  in  the  Belmont  Gallery,  New  York.  In  the 
Walters  Gallery,  Baltimore,  are  two  small  pictures  by  Merle,  “A  Girl 
with  a Child  in  her  Arms  ” and  a “ Group  of  a Mother  and  her  Chil- 
dren.” The  latter  is  an  excellent  example  of  this  artist’s  work. 
“ The  Scarlet  Letter  ” is  also  in  the  same  collection.  At  a sale  at 
Christie’s  in  1874,  were  sold  “The  Mendicant  during  the  Siege  of 
Paris  ” and  “ Watching  the  Crab  ” ; the  latter  brought  190  guineas. 


112  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


At  the  Johnston,  sale,  New  York,  1876,  “Chasing  the  Butterfly”  (18 
by  16)  sold  for  $ 1,615. 

“[French  Gallery,  Pall  Mall,  No.  1G4,  ‘ Hagar  and  Ishniael.*]  H.  Merle  presents  a 
most  interesting  version  of  tlie  subject.  The  figure  of  Hagar  is  admirably  cast,  and  is 
distinctly  of  the  Egyptian  type  ; the  angry  expression  of  her  features  is  her  reply  to  the 
mockery  of  Sarah.  But  the  difference  between  Hagar  and  Ishmael  is  remarkable,  the 
l)ose  and  action  of  tlie  boy  being  both  open  to  improvement ; and  we  think  that  if  the 
artist  reconsiders  the  subject,  he  will  arrive  at  the  conclusion  that  the  removal  of  Abra- 
ham from  the  background  would  be  advantageous."  — Art  Journal,  May,  1873. 

“ Merle  shows  to  more  advantage  this  year  at  the  Salon  than  he  has  done  for  some 
seasons  past ; his  ‘ Charlotte  Corday,’  in  particular,  being  a striking  and  expre.ssive 

work Painted  with  Merle’s  peculiar  grace  and  tender  charm,  this  fine  picture 

daily  attracts  a crowd  of  gazers.  It  goes  to  America,  having  been  jiurchased  by  Mr. 
>Villiam  Schaus,  the  well-known  dealer.”  — Art  Journal,  August,  1873. 

Merle,  Georges.  {Fr.)  Born  at  Paris.  Son  and  pupil  of  Hugues 
Merle.  He  sent  to  the  Salon  of  1878,  “ The  Death  of  Philip  Arte- 
velde  at  the  Battle  of  Koosebeke,  November  27,  1382  ” ; in  1877, 
“I’aust  and  the  Three  Braves”;  in  1876,  “Le  Pas  d’ Aimes  dePArbre 
d’Or.” 

Merson,  Luc-Olivier.  {Fr.)  Bom  at  Paris.  Medals  at  Salons 
of  1869  and  ’73.  His  subjects  are  generally  historical-religious,  such 
as  “St.  Louis,  on  coming  to  the  Throne,  opens  the  Jails  of  the  King- 
dom ” and  “ St.  Louis,  in  spite  of  the  Suppheations  of  the  Barons, 
condemns  the  old  Enguerrand  de  Coucy,  1259,”  both  painted  for 
the  Gallery  of  Saint  Louis  at  the  Palace  of  Justice.  At  the  Salon 
in  1875  he  exhibited  “The  Sacrifice  for  the  Country”  and  “St. 
Michael  ” ; in  1872,  “ St.  Edmond,  King  and  Martyr”  ; and  in  1878, 
“ The  Wolf  of  Agubbio.” 

Mdryon,  Charles.  {Fr.)  Born  at  Paris  (1821  - 1868).  Early 
in  life  he  was  amarine,  and  in  New  Caledonia,  which  he  visited,  he 
made  many  very  interesting  sketches  of  that  countiy,  then  so  little 
known  ; later,  he  made  engravings  from  these  designs.  On  his  return 
to  France,  Meryon  devoted  himself  to  engraving,  studied  under  Blery, 
and  became  the  best  etcher  of  his  day.  In  spite  of  his  excellence  he 
never  felt  himself  appreciated,  and  he  fell  into  a misanthropy  which 
at  length  rendered  him  insane.  He  was  taken  to  Charenton,  where 
he  slowly  died.  He  wished  for  no  friends  or  sympathy,  and  refused 
to  eat.  His  etchings,  especially  those  of  the  old  parts  of  Paris,  were 
exquisite.  Among  those  which  are  highly  esteemed  are,  “ The  Ex- 
change Bridge,”  “ The  Old  Morgue,”  “ The  Little  Bridge,”  “ The 
Apse  of  Notre  Dame  of  Paris,”  “ The  Turret  of  Rue  Tixeranderie,” 
“ The  Turret  of  the  Rue  de  I’Ecole  de  Medicine,”  “ The  New  Bridge,” 
and  the  “ Rue  de  la  Pirouette.”  It  is  much  to  be  lamented  that  in 
a fit  of  madness  Meryon  destroyed  some  of  his  finest  works,  among 
which  were  etchings  of  “ The  College  of  Henry  IV.  at  Paris.” 

Mesdag,  Hendrik  - Willem.  {Dutch.)  Born  at  Groningen. 
Medal  in  Paris  and  at  Philadelphia,  where  he  exhibited  “ Evening  on 


ARTISTS  OF  TEE  NINETEENTH  CENTURY.  113 


the  Beach.”  He  is  a pupil  of  Alma-Tadema.  At  Paris  in  1877  he 
exhibited  “ Summer  Evening  ” and  “ Twilight  ” ; in  1876,  two  pic- 
tures, the  “ Departure  and  Return  of  a Life- Boat  at  Scheveningen  ” ; 
at  the  London  Royal  Academy  in  1872,  “A  Fishing-Smack”  ; and  in 
1871,  “A  Fleet  of  Fishing-Boats  at  Scheveningen.”  To  the  Paris 
Salon  of  1878  he  contributed  “ Ready  to  weigh  Anchor,  Schevenin- 
gen,” and  “ The  Scheldt,  — Morning,”  and  to  the  Exposition,  same 
year,  three  of  his  works  above  named. 

Meyer,  Ernest.  {Dane.)  Born  at  Altona  (1796  - 1860).  Mem- 
ber ot  the  Academy  of  Copenhagen,  at  which  place  he  studied.  In 
1824  he  went  to  Italy  ; he  passed  some  time  in  Naples  and  Amalfi,  and 
settled  at  Rome,  where  he  died.  At  the  National  Gallery  at  Berlin  is 
his  “ Family  of  Lazzaroni.” 

Meyer,  Jean-Louis-Henri.  {Dutch.)  Born  at  Amsterdam  (1809- 
1866).  Chevalier  of  the  Legion  of  Honor.  Pupil  of  Jean  Pienemann. 
He  essayed  genre  and  historical  subjects  before  he  confined  himself  to 
marine  pictures,  as  he  did  at  length.  He  lived  much  in  Paris,  and 
sent  his  works  to  many  Salons  and  to  the  Exposition  of  1855.  In 
1867  several  pictures  were  exhibited,  which  were  in  his  studio  when 
he  died.  His  “ Shipwreck  of  William  1.”  is  in  the  Museum  at  Haar- 
lem. 

Meyer,  Jean  Georges,  called  Meyer  von  Bremen.  {Ger.)  Bom 
at  Bremen  about  1813.  Member  of  the  Amsterdam  Academy.  Medals 
at  Berlin  and  Philadelphia.  Pupil  of  the  Diisseldorf  school.  He  at 
first  essayed  historical  and  religious  subjects,  but  afterwards  devoted 
himself  to  the  genre  subjects  which  have  made  him  popular  in 
Europe  and  America.  He  had,  some  time  ago,  executed  more  than 
nine  hundred  pictures  in  oils  and  water-colors.  At  the  National 
Gallery,  Berlin,  is  his  “ Little  Housewife.”  At  the  Johnston  sale, 
New  York,  1876,  “The  New  Sister”  (19  by  15)  sold  for  $3,700. 
Almost  all  his  pictures  represent  children,  so  that  in  Germany  he  has 
been  called  “ Kinder-Meyer.”  The  pictures  of  this  artist  are  so  well 
known,  and  their  place  is  so  well  estabRshed,  that  nothing  need  be 
said  of  them.  They  seem  to  belong  to  each  person  who  has  looked  at 
them,  because  they  appeal  to  all  hearts  and  fix  themselves  in  all  mem- 
ories. At  the  Latham  sale.  New  York,  1878,  “What  has  Mother 
brought?”  (20  by  16)  sold  for  $4,050.  His  “Water-Girl”  is  in 
the  collection  of  Mrs.  H.  E.  Maynard  of  Boston.  Theron  R.  Butler 
of  New  York  owns  his  “ Little  Coquette,”  “ Leaving  Home,”  “ Medi- 
tation,” and  “ Prayer,”  and  several  very  fine  specimens  of  his  work 
were  in  the  collection  of  the  late  Alvin  Adams  of  Watertown,  Mass. 

Meyerheim,  Frederic-Eduard.  (Ger.)  Born  at  Dantzic,  1808. 
Member  of  the  Academies  of  Munich,  Dresden,  and  Berlin,  and 
Professor  at  the  last.  Medal  at  Paris  in  1855.  Pupil  of  his  father 
and  the  Academy  of  Berlin.  He  joined  some  young  artists  in  opposi- 
tion to  the  Academy,  aiid  was  obliged  to  support  himself  by  making 


114  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


lithographs.  In  1834  he  exhibited  the  “ Blind  Beggar,”  which  im- 
mediately placed  him  in  the  first  rank  as  a genre  painter.  At  the  Na- 
tional Gallery,  Berlin,  is  his  “ King  of  the  Shooting- Match.” 

Meyerheim,  Paul  Friedrich.  {Ger.)  Born  at  Berlin,  1842. 
Member  of  the  Academy  of  Berlin  and  of  the  Belgian  Water-Color 
Society.  Medals  at  Berlin  and  Paris.  Genre  painter.  Pupil  of  his 
father,  E.  M.  Meyerheim.  Traveled  in  Belgium  and  Holland,  and 
remained  a year  in  Paris.  He  is  a skillful  water-colorist  and  lithog- 
rapher. In  the  National  Gallery  at  Berlin  is  his  “ Antiq^uary  in  the 
Market-Place  at  Amsterdam.”  At  Berlin  in  1876  he  exhibited  “ Two 
Portraits,”  “ A Landscape  with  Cows,”  and  a “ Harvest  Scene.” 

Meynier,  Charles.  {Fr.)  Born  at  Paris  (1768-  1832).  Chevalier 
of  the  Legion  of  Honor.  Pupil  of  Vincent.  Meynier  took  the  grand 
prix  de  Rome  in  1789.  His  picture  of  the  “Entry  of  the  French  into 
Berlin”  is  at  Versailles.  “The  Infant  (Edipus  presented  to  Peri- 
boca  ” is  in  the  Louvre.  This  artist  decorated  the  ceiling  of  the  stair- 
case leading  to  the  Museum  of  Painting,  and  that  of  the  anteroom 
to  the  Great  Exhibition  Hall  at  the  Louvre. 

Meynier,  Jules  Joseph.  (Fr.)  Born  at  Paris.  Medals  in  1867 
and  ’77.  Pupil  of  Delaroche,  Gleyre,  and  Bridoux.  At  the  Salon  of 
1877  he  exhibited  “ Chrysante  and  Daria  ” ; at  that  of  1867,  “ The 
First  Christians  in  Prayer  at  the  Entrance  to  a Cr\'pt  ” ; and  in  1878, 
“ Venus  chastising  Love”  and  .some  portraits  of  children. 

Michel,  Ernest-Barth^lemy.  (Fr.)  Born  at  Montpellier,  where 
his  studio  now  is.  Pupil  of  Picot  and  Cabanel.  He  won  the  prix  de 
Rome  in  1860  and  a medal  in  1870.  To  the  Salon  of  1876  he  sent 
“ Lisa  the  Bohemian  ” and  “ The  Doves”  ; in  1875,  “ Fortune  and  the 
Child,”  “ Young  Girl  in  the  Fields,”  and  “Roman  Peasants  on  the 
Steps  of  a Convent  ” ; in  1873,  “ La  Pescivendola.”  To  Philadelphia, 
in  1876,  he  sent  “Decameron”  ; to  the  Paris  Exposition  of  1878, 
“ The  Charity  of  St.  Martin  ” (belonging  to  the  church  of  Saint- 
Nicolas-des-Champs,  Paris)  and  “ Daphne.” 

MigUoretti,  Pascal.  (Ital.)  Born  at  Milan.  Medal  at  Paris  in 
1855.  Pupil  of  the  Academy  of  ililan,  in  which  city  he  is  known 
by  various  religious  sculptures  and  monumental  decorations.  He  ex- 
hibited at  Paris  “The  Dying  Abel”  (1855)  ; and  in  1867,  “Char- 
lotte Corday,”  “ Neapolitan  Piccirello,”  and  “ The  First  Grief.” 

Mignot,  Louis  R.,  N.  A.  (Am.)  Born  in  South  Carolina  (1831 
-1871).  Spent  .some  years  in  study  in  Holland.  A landscape- 
painter  of  much  promise,  fond  of  tropical  and  semi-tropical  scenes. 
He  lived  in  New  York,  and  was  made  a member  of  the  National 
Academy  in  1859.  Upon  the  secession  of  his  native  State  from  the 
Federal  Union  in  1861  he  removed  to  London,  where  the  rest  of  his 
life  was  spent.  Among  his  earlier  works  painted  in  this  country  are 
his  “ Twilight  in  the  Tropics,”  “ Southern  Harvest  ” (belonging  to 
R.  L.  Stuart),  “ Tropical  Scenery  ” (belonging  to  M.  0.  Roberts),  and 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  115 


“Source  of  the  Susquehanna”  (in  the  Wright  Collection,  belonging 
originally  to  H.  W.  Derby,  exhibited  in  the  Paris  Exposition  of  1867, 
and  in  the  hlational  Academy  of  New  York  the  following  winter). 
He  first  exhibited  at  the  Royal  Academy,  in  1863,  “ Lagoon  of  Guaya- 
quil, South  America  ” and  “ A Winter  klorning  ” ; in  1865,  “ Evening 
in  the  Tropics”  ; in  1866,  “ Under  the  Equator”  ; in  1867,  “Tin- 
tern”;  in  1870,  “Sunset  off  Hastings”;  in  1871,  “Mount  Chim- 
borazo.” His  collected  works  were  exhibited  in  London  after  his 
death,  and  attracted  considerable  attention. 

“ .^t  home  and  abroad  Mignot’s  best  landscapes  have  won  admiration.  He  is  a mas- 
ter of  color,  and  some  of  his  atmospheric  experiments  are  wonderful.  Compare  one  of 
his  winter  with  one  of  his  tropical  scenes,  and  the  absolute  truth  of  his  manner  and 
method  becomes  impressive.”  — Tuckerman’s  Book  of  the  Artists. 

Millais,  John  Everett,  R.  A.  (Brit.)  Bom  in  Southampton, 
1829.  Spent  his  early  years  in  France,  and  among  the  Channel  Isl- 
ands. Received  a medal  from  the  Society  of  Arts  in  1838,  when  only 
nine  years  of  age.  He  entered  the  Royal  Academy  two  years  later, 
gaining  two  silver  medals.  Exhibited  his  first  picture  in  the  Royal 
Academy,  in  1846,  “ Pizarro  seizing  the  Men  of  Peru”  ; in  1847  he 
received  the  gold  medal  for  an  historical  painting,  “ The  Tribe  of  Ben- 
jamin seizing  the  Daughters  of  Shiloh  ” ; in  1850  he  exhibited  “ Christ 
in  the  House  of  his  Parents,”  and  his  famous  “ Huguenot  Lovers  ” in 
1852  ; in  1853,  when  he  was  elected  Associate  of  the  Royal  Acad- 
emy, he  sent  “ The  Order  of  Release  ” and  “ The  Proscribed  Royal- 
ist” ; in  1855,  “ The  Rescue  ” ; in  1856,  “ Autumn  Leaves”  ; in  1860, 
“The  Black  Brunswicker ” ; in  1862,  “The  Ransom”  and  “Trust 
Me”  ; in  1863,  “My  First  Sermon,”  “The  Wolfs  Den,”  and  “The 
Eve  of  St.  Agnes.”  He  was  made  Academician  in  1864,  contributing 
“ My  Second  Sermon,”  “ Charlie  is  my  Darling,”  and  others  ; in  1865, 
he  sent  “ J oan  of  Arc,”  “ Esther,”  and  “ The  Romans  leaving  Brit- 
ain ” ; in  1867,  “ The  Minuet,”  “ Sleeping,”  and  “ Waking”  ; in  1868, 
he  sent  his  diploma  work,  “ A Souvenir  of  Velasquez,”  “ Pilgrims  to 
St.  Paul’s,”  and  “ Rosalind  and  Celia  ” ; in  1869,  “ The  Gambler’s 
Wife,”  “The  End  of  the  Chapter,”  and  several  portraits  ; in  1870, 
“ The  Knight-Errant,”  “ The  Boyhood  of  Raleigh,”  and  “ The  Wid- 
ow’s Mite  ” ; in  1871,  “ Chill  October  ” and  “ Yes  or  No  ? ” ; in  1872, 
“ Flowing  to  the  River,”  “ Flowing  to  the  Sea,”  and  “ Hearts  are 
Trumps  ” ; in  1873,  “ Early  Days  ” and  “ New-Laid  Eggs  ” ; in  1874, 
“Winter  Fuel,”  “ The  Northwest  Passage,”  “ The  Picture  of  Health,” 
and  “ A Day’s  Dream”  ; in  1875,  “ The  Fringe  of  the  Moor,”  “ The 
Crown  of  Love,”  and  “ No  ! ” ; in  1876,  “ Forbidden  Fruits,”  “ Getting 
Better,”  “ Over  the  Hills  and  Far  Away,”  and  many  portraits  ; in 
1877,  “ A Yeoman  of  the  Guard,”  “ The  Sound  of  many  Waters,” 
and  “ Yes  ! ” ; in  1878,  “ The  Princes  in  the  Tower,”  “A  Jersey  LUy,” 
and  a portrait  of  the  Earl  of  Shaftesbury.  His  “ Effie  Deans,”  engraved 
by  Oldham  Barlow,  A.  R.  A.,  was  exhibited  in  1877,  at  a private  gal- 


116  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


lery  in  London,  for  the  benefit  of  the  Artists’  General  Benevolent 
Institution,  of  which  Mr.  Millais  is  the  Honorary  Secretary.  Many 
of  his  works  have  been  engraved.  He  is  considered  the  leading  por- 
trait-painter to-day  in  England,  receiving,  it  is  said,  two  thousand 
guineas  for  a single  full-length  likeness.  M^ith  Mr.  Madox  Bro\sTi, 
D.  G.  Eossetti,  Holman  Hunt,  and  a few  more  (in  1850  or  earlier),  he 
founded  an  association  called  “ The  Brotherhood  of  the  Pre-Raphael- 
ites, ” which  was  the  introduction  of  what  is  now  known  as  the  “ Pre- 
Raphaelite  School  of  Painting  ” in  England,  whose  principal  theory 
of  action,  according  to  Faiiholt,  is  a rigid  adherence  to  natural  forms 
and  eifects  in  contradistinction  to  the  style  of  rendering  of  any  par- 
ticular school  of  art.  One  of  the  earliest,  and  perhaps  the  most  marked 
of  Mr.  Millais’  pre-Raphaelite  pictures,  was  “ The  Child  Jesus  in  the 
Workshop  of  Joseph  the  Carpenter,”  painted  in  1850,  wonderful  in  its 
naturalism  and  attention  to  the  minutest  details.  He  exhibits  at  the 
Grosvenor  Gallery.  His  “ Early  Days  ” was  at  Philadelphia  in  1876  ; 
“ Chill  October  ” and  “ Hearts  .are  Trumps.”  at  Paris  in  1878.  Mr. 
Marsden  bought  his  “ Bride  of  Lamiuermoor,”  the  same  year,  for 
£ 3,000. 

“ In  1871  Millais  electrified  once  more  the  art-loving  public  by  the  insurpassable  truth 
of  his  ‘ Chill  October,’  a landscape  picture,  the  exquisite  subdued  tone  of  which  is  one 
great  element  of  its  strength."  — Mrs.  Tytler’s  Modern  Painters. 

“ The  critics  will  differ  as  to  the  qualities  of  each  composition,  but  no  single  individ- 
ual will  venture  to  question  the  genius  and  consummate  ability  of  the  artist  Mr.  Mil- 
lais is  one  of  the  most  powerful  painters  enrolled  in  the  list  of  Academicians.”  — Art 
Journal,  June,  1875. 

“ Millais  has  placed  himself  at  the  head  of  the  living  portrait-painters  of  Great  Brit- 
ain  As  a colorist,  it  is  difficult  to  see  why  he  should  not  be  assigned  to  a place 

among  the  foremost  that  Great  Britain  has  produced. ” — Bexjamix’s  Contemporary  Art 
in  Europe. 

“It  is  simply  impossible  to  render  adequate  justice  to  this  masterpiece  of  natural 
representation  [’Over  the  Hills  and  Far  Away’].  It  is  a very  splendid  illustration  of 
the  author’s  extraordinary  genius,  exhibiting  consummate  draughtsmanship,  marvelous 
power  of  coloring,  and  vivid  truthfulness  of  execution.”  — alrf  Journal,  July,  187a 

Veiy  many  of  Jlillais’ drawings  on  wood  have  all  of  the  qualities  of  good  etchings 
which  the  difference  of  the  two  processes  will  pennit  His  manner  of  sketching  is  an 
excellent  manner  for  an  etcher.  It  is  delicate  without  over-minuteness,  and  it  is  rapid 
and  free  without  neglecting  aurdhiug  essential.  ’* . — Hamerton’s  Etching  and  Etchers,  lS7a 

Miller,  Alfred  J.  (Am.)  Born  in  Baltimore  (1810  — 1874).  His 
first  lessons  in  art  were  received  from  Thomas  Sully.  After  painting 
with  success  in  B:iltimore  and  Washington  he  went  to  Europe  in 
1833,  studying  in  Paris,  Rome,  and  Florence,  and  living  on  intimate 
terms  with  Thorwaldsen,  Greenough,  Gibson,  and  ^ ernet.  He  was 
also  a fellow-traveler  with  Brantz  Mayer  and  N.  P.  Willis.  His  works 
in  Europe  were  chiefly  copies  of  the  old  masters,  but  they  were  con- 
sidered of  great  excellence.  At  New  Orleans  in  1837  he  met  Sir 
IVilliam  Drummond  Stewart,  a Scottish  Baronet,  with  whom  he 
visited  the  Rocky  Mountains,  making  a series  of  sketches  of  scenes 
and  incidents  of  the  trip  which  were  the  groundwork  of  the  very 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  117 


interesting  gallery  of  Indian  pictures  now  at  Murtliley  Castle,  the 
seat  of  Sir  W.  D.  Stewart,  and  probably  the  most  valuable  collection 
of  paintings  relating  to  aboriginal  American  life  extant.  He  spent 
the  winter  of  1841  at  Taymouth,  the  guest  of  the  Duke  of  Breadal- 
hane  in  the  Highlands  of  Scotland,  painting  several  family  portraits. 
Returning  to  Baltimore,  he  practiced  his  profession  there  until  his 
death.  In  portraiture  he  followed  the  school  of  Lawrence.  For 
W.  T.  Walters  of  Baltimore  he  reproduced  in  water-colors  (accom- 
panied by  his  private  journal  of  the  Rocky  Mountain  expedition)  the 
pictures  he  had  painted  for  Stewart.  His  works  are  in  many  of  the 
important  collections  of  this  country. 

Miller,  Charles  H.,  N.  A.  (Am.)  Born  in  New  York,  1842. 
Studied  medicine,  and  graduated  in  1863.  During  his  medical  course 
he  painted  occasional  pictures,  and  first  exhibited  at  the  National 
Academy,  in  1860,  “The  Challenge  Accepted.”  In  1864  he  went  to 
Europe,  and  again  in  1867,  visiting  the  art  centers,  and  finally  settling 
in  Munich,  where  he  remained  three  years,  and  became  a student  of 
Professor  Lier  and  of  the  Bavarian  Royal  Academy.  He  made  fre- 
quent excursions  to  Dresden,  Vienna,  and  Berlin.  He  exhibited  at  the 
National  Academy,  New  York,  in  1869,  “Near  Munich,  Bavaria ” ; 
in  1870,  “Old  Mill  near  Munich”  and  “Roadside  near  Munich”  ; 
in  1871,  “Sunset”  and  “Twilight  at  Duchau  near  Munich”;  in 
1872,  “Old  Mill,  Springfield”  and  “Old  Bridge,  Munich  ” ; in  1874, 
“Old  Oaks  at  Creedmoor,  Long  Island”  ; in  1875,  “Sheep-Washing 
on  Long  Island  ” and  “ High  Bridge  from  Harlem  Lane,  New  York  ” ; 
in  1876,  “ Bush -Burning  on  Long  Island”  and  “New  York  from 
Newton  Creek”  ; in  1877,  “On  the  Road  to  Market,  Long  Island” 
and  “ Autimm  ” ; in  1878,  “ Sunset,  East  Hampton,  Long  Island.” 

He  was  elected  an  Associate  of  the  National  Academy  in  1873  or 
’74,  and  Academician  in  1875.  Miller’s  “ Sunset  at  Queen’s,  New 
York  ” belongs  to  Robert  Gordon  ; his  “ Road  to  the  Mill,”  to  John 
L.  Melcher.  His  “ Oaks  at  Creedmoor,  Long  Island  ” was  at  the 
Paris  Exposition  of  1878. 

“Mr,  Miller  contributed  liis  ‘ Betuming  to  the  Fold,’  ‘The  Road  to  the  Mill,’  and 
‘High  Bridge,  New  York,’  all  of  which  show  decided  merit  with  a strong  foreign  accen- 
tuation.’’— Brof.  Weir’s  Official  Report  of  tlie  American  Centennial  Exhibition  of  1S76. 

“ Miller’s  ‘ Long  Island  Landscape  ’ is  an  admirable  little  picture,  full  of  vigor,  but 
the  upper  clouds  look  too  heavy.  A dark  landscaiie  covered  by  a dark  sky  which  is 
bright  towards  the  horizon.”  — New)  York  Times,  April  8,  1877. 

Millet,  Jean-Francois.  (Fr.)  Born  at  Greville  (1814-1875). 
Chevalier  of  the  Legion  of  Honor.  Pupil  of  Delaroche.  This  artist 
was  one  of  nine  children.  His  father  had  no  means  to  .spare  for  his 
education  ; his  grandmother,  and  an  uncle,  who  was  a priest,  taught 
him  as  well  as  they  could.  Very  early  his  vocation  for  painting 
declared  itself,  and  in  1834  he  went  to  study  with  Langlois  at  Cher- 
bourg. His  progress  was  so  remarkable  that  the  municipal  council  of 
Cherbourg  gave  him  a small  pension  in  order  that  he  might  go  to 


118  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Paris.  In  1837  he  became  the  pupil  of  Delaroche  ; and  soon  the 
friend  of  Corot,  Theodore  Rousseau,  Dupre,  and  Diaz.  He  was  often 
hungry  and  cold,  for  his  pension  was  very  small  ; but  he  had  the 
health  of  a Normandy  peasant,  as  he  often  called  himself,  and  he 
was  always  courageous  and  hopeful.  For  a time  he  hesitated  between 
historical  and  (jenre  painting,  hut  at  length  fixed  upon  representations 
of  pastoral  life,  that  which  he  knew  so  well,  and  with  which  he  was 
in  sympathetic  accord.  In  1853  he  exhibited  at  the  Salon,  “ The 
Reapers,”  “A  Shepherd,”  and  “The  Sheep-Shearers,”  and  received  his 
first  medal ; in  1855,  “A  Peasant  grafting  a Tree  ” ; in  1857,  “The 
Gleaners,”  which  became  famous.  After  this  time  there  was  much 
discussion  over  his  works.  “The  Woman  grazing  her  Cow”  (1859), 
“ The  Shepherdess  with  her  Flock  ” and  “ Peasants  bearing  Home  a 
Calf  born  in  the  Field”  (1864),  and  the  “ Knitting- Lesson ” (1869), 
were  bitterly  criticised  on  the  one  hand,  and  passionately  praised  on 
the  other.  In  1870  he  sent  works  to  the  Salons  for  the  last  time  : 
“ November  ” and  “ A Woman  churning  Butter.”  In  the  Luxem- 
bourg are,  “ The  Church  at  Greville  ” (for  which  12,200  francs  was  paid 
after  Millet’s  death),  “ The  Bathers,”  and  a number  of  designs  or  stud- 
ies in  pencil,  crayon,  and  pen  drawing.  Among  his  works  we  would 
also  mention,  “A  Bit  of  the  Village  of  GreGlle,”  sold  at  the  Faure 
sale  in  1873  for  20,300  francs ; “A  Woman  with  a Lamp”  at  the  Laurent- 
Richard  sale,  38,500  francs;  “ The  Evening  Angelus  ” ; “ The  Potato- 
Gathering”  ; “ The  Mother  cradling  her  Child”;  etc.  In  the  “Har- 
vest of  Beans,”  Millet  introduced  the  portrait  of  his  mother,  and  the 
cottage  in  which  he  was  born.  This  artist  executed  only  about  eighty 
pictures.  When  we  consider  that  he  painted  thirty-one  years  this  is  not 
a large  number.  He  gave  much  thought  to  his  subjects  ; he  retained 
his  canvases  in  his  studio,  and  returned  to  them  from  time  to  time,  in 
order  to  give  to  them  exactly  the  sentiment  he  wished  them  to  express, 
klillet  was  in  one  way  extremely  remarkable,  we  might  almost  say 
unique  ; he  never  painted  from  a model.  What  acuteness  of  observa- 
tion was  required  in  order  to  reproduce  from  memory,  as  he  did,  not 
only  the  characteristics  of  attitude  and  aspect  in  his  figures,  but  the 
details  of  his  landscapes  ! He  le.T,  besides  his  pictures,  numerous  de- 
signs and  studies  in  different  modes  of  execution.  After  his  death 
all  that  were  in  his  studio  (many  unfinished)  were  sold  at  the  Hotel 
Drouot  ; they  numbered  fifty-six,  and  brought  321,034  fmncs.  M. 
Gavet  had  a collection  of  designs  by  Millet,  numbering  ninety-five, 
which  were  also  sold  at  the  Hotel  Drouot,  a short  time  after  the  sale 
above  mentioned.  Previously,  however,  M.  Gavet  had  generously 
placed  half  his  collection  on  exhibition  for  one  month,  for  the  benefit  of 
the  family  of  the  artist.  The  sale  brought  431,050  francs;  there  were  not 
more  than  twenty  purchasers,  and  but  one  who  was  not  French.  ^lil- 
let  had  also  executed  quite  a number  of  etchings  and  a few  wood-engrav- 
ings. The  following  plates  have  been  made  by  others  from  his  works: 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  119 


“The  Angelus,”  engraved  by  Waltner  ; “ Death  and  the  Wood-Cutter,” 
“ CEdipus,”  and  the  “ Harvest  of  Beans,”  by  Edmond  Hedouin.  “ The 
Rustic  Labors  ” and  “ Les  quatre  heures  du  jour  ” (fourteen  pieces) 
have  been  copied  in  wood-cuts  by  Adrien  Lavielle.  At  the  Museum 
of  Fine  Arts,  Boston,  are  “ An  Interior  ” (unfinished),  presented  by 
Martin  Brimmer,  and  “Bergere  Assise,”  gift  of  S.  D.  Warren. 

“The  late  M.  Millet,  besides  being  a landscape-painter,  was  a great  ligure-painter. 
In  the  opinion  of  many,  and  those  not  the  admirers  of  the  newest  phase  of  French  art, 
the  Courbet-Manet-Corot  school,  he  was  the  first  French  pamter  of  his  time.  Certainly 
the  French  school  has  never  produced  an  artist  with  such  thorough  devotion  to  nature, 
or  who  has  so  truthfully  rendered  scenes  and  emotions  of  natural  life.  His  works  have 
nothing  tlicatrical  or  cynical  about  them.  To  an  Englishman  they  are  suggestive  of  the 
poetry  and  sentiment  of  Burns,  and  the  sympathetic  feeling  for  nature  of  Wordsworth. 
He  had  the  art  of  introducing  into  pictures  of  modern  French  pastoral  life,  while  retaining 
the  truthfulness  of  nature,  all  the  elevated  qualities  of  the  best  artistic  culture  to  be  found 
in  the  works  of  the  great  masters.  Those  who  remember  the  ‘Angelus  du  Soir,’  in 
the  Exposition  of  1867,  well  know  this  is  no  exaggeration.  The  picture  represents  a 
couide  of  peasants,  man  and  woman,  who,  while  at  work  in  the  field,  hear  the  bell  of  the 
distant  church  tolling  the  Angelus.  They  stop  work,  reverently  bowing  their  heads  in 
silent  prayer.  For  expression  of  devotion  equally  genuine  we  must  go  back  to  the 
works  of  the  early  Italian  master!?. 

“Many  of  your  readers  who  delighted  in  Millet’s  works  will  probably  be  interested  in 
hearing  of  some  of  the  pictures  he  was  last  engaged  on,  but  of  which  few,  alas,  we  may 
hope,  were  quite  completed.  For  he  kept  his  works  long  in  the  studio,  always  endeav- 
oring to  make  them  as  perfect  as  possible,  not  only  in  their  execution  but  In  their  senti- 
ment. I remember  his  showing  me  a picture  of  a village  church  of  Normandy,  the  one 
in  which  he  was  christened.  On  my  speaking  of  it  as  completed,  ‘ No,’ he  said,  ‘there 
is  an  impression  of  this  scene  as  it  struck  my  imagination  when  a child  which  I have 
not  succeeded  in  rendering,  but  which  I hope  to  get  some  day.' 

“ Barbison  is  one  of  those  French  villages  we  know  so  well,  a long  street  of  cottages  and 
small  farm-houses,  with  their  i)icturesque  basseoonrs.  At  the  top  of  the  village,  aji- 
I>roaching  the  forest  of  Fontainebleau,  is  a range  of  modest  buildings,  one  of  which  has  a 
large  window.  This  is  the  residence  and  studio  of  Millet,  One  day  last  autumn,  being 
at  Barbison,  I sent  my  card  to  M.  Millet,  and  asked  permission  to  see  any  work  he  might 
have  finished.  He  very  kindly  acceded  to  my  request,  and  led  the  way  along  a shaded 
alley  to  his  studio.  His  appearance  was  decidedly  more  provincial  than  Parisian.  He 
wore  a straw  hat,  loose  shooting-coat,  and  saints.  His  manner  was  especially  courteous 
and  genial,  though  very  quiet.  He  gave  me  the  impression  of  being  nearer  fifty  than 
sixty  years  of  age. 

“ The  picture  on  his  easel  represented  an  old  farm-house  in  Normandy,  in  which  were 
visible  traces  of  Gothic  windows  and  buttresses  ; in  front  was  some  broken  ground  with 
implements  of  labor  ; in  the  distance,  the  sea.  The  charm  of  the  piioture  was  in  the 
sentiment  of  sunny  repose  in  which  the  old  moss  and  liohen.covered  house  was  steeped. 
Seeing  the  i-espect  I had  for  his  work,  Millet  then  produced  a series  of  ])ictures  he  had 
in  progress,  but  which  space  forbids  me  to  more  than  briefly  notice  ; the  hints  will  be 
sufficient  for  those  who  know  his  pictures.  Among  the.  figure-subjects  were  two  lovely 
little  idyls,  one  a shejiherd-girl  leading  home  her  sheep,  girl  and  sheep  and  landscape  all 
flushed  in  rosy  light.  The  second,  a boy  on  a bank  blowing  his  horn  to  call  the  cows  j 
the  figure  was  relieved  against  a sunset  sky.  A very  striking  work  represented  an 
orchard  in  springtime  ; the  sun  was  shining  on  the  near  objects  and  middle  distance, 
over  which  the  rain  had  just  passed  ; on  the  dark  stormy  sky  shone  a double  rainbow. 
Also  a stormy  landscape  was  one  subject,  with  a flock  of  sheep  being  driven  to  shelter 
under  the  cover  of  haystacks.  I must  not  omit  a noble  composition  of  which  the  scene 
was  laid  in  an  autumn  field,  on  a warm  sunny  afternoon.  Women  are  bringing  sheaves 


120  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


of  com  to  the  threshing-ground,  around  which  are  ranged  a score  or  so  of  threshers. 
This  group,  for  varied  and  spirited  action,  is  marvelous,  and  it  suggested  an  orchestra 
executing  an  allegro  motive  in  a symphony  of  Beetlioven  ; beliind,  straw  is  being  burned, 
the  huge  wreatli  of  smoke  giving  additional  impressiveness  to  the  composition. 

“There  was  a series  of  works  that  appeared  to  me  deeply  tonching  even  then,  when 
tlieir  autlior  stood  before  me  in  health  and  vigor.  These  were  some  pictures  and  draw- 
ings made  during  the  late  war  in  the  neighborhood  of  ids  birthplace,  a village  ne.ar  Cher- 
bourg. In  them  was  reflected  the  sadness  which  must  have  fallen  on  every  patriotic 
Frenchman  during  that  terrible  period.  Its  expression  was,  perliaps,  most  profoundly 
given  in  a landscape  representing  the  seashore,  with  a long  range  of  low  cliffs,  the  undu- 
lating ground  and  sliglitly  agitated  sea  being  painted  in  varied  tones  of  gray,  exquisitely 
liarmonions,  but  inexpressibly  mournful. 

“He  seemed  to  regard  with  much  tenderness  a drawing  of  the  house  where  he  wa.s 
bom,  very  like  Burns’  cottage,  only  having  aii  additional  story.  ‘ My  ancestors  were 
peasants,’  said  he,  ‘and  I was  bom  a peasant.’ 

“ Herein  was  the  secret  of  his  success,  and  of  liis  power  in  reaching  the  hearts  of  men. 
He  painted  what  lie  had  known  and  loved.  He  studied  and  first  practiced  his  art  at 
I’aris  ; latterly,  he  seems  wholly  to  have  lived  in  the  country,  and  had  even  given  up  ex- 
hibiting ids  pictures  at  the  Salon.  ‘ The  work  tliere,’  he  remarked,  ‘ has  too  much  glare 
and  glitter,  and  too  little  of  the  modesty  of  nature.’  ’’  — H.  Wallis,  London  Times. 

“ At  the  outset  it  may  be  observed  that  Millet,  the  greatest  painter  of  humanity  seen 
in  France  for  forty  years  or  more,  died  last  year.  None  like  him  survive.  To  him  the 
human  body,  with  all  its  exquisite  forms  and  retreating  curves,  delicute  grays  and  reds, 
and  soft,  palpitating  flesh,  was  but  a casket,  beautiful  indeed,  but  inclosing  a still  more 
wonderful  and  beautiful  soul  that  speaks  its  volitions  and  thoughts,  its  emotions  and 
sensations,  with  every  movement  of  those  limbs,  with  every  parting  of  those  lips,  an<l 
every  glance  of  those  eyes,  to  wliose  eloquent  and  infinite  radiance  the  opals  of  the  Ural 
or  the  diamonds  of  Golconda  are  but  inert  matter  in  comparison.  Such  was  humanity 
to  the  searching,  divining  spirit  of  Millet.’’  — Benjamin’s  Contemporary  Art  in  Europe. 

“ This  picture  [‘  The  Gleaners ']  attracts  you  from  afar  by  an  air  of  grandeur  .and  se- 
renity. I might  .almost  say  that  it  announces  itself  .as  a religious  picture.  All  is  calm 
there,  the  drawing  is  without  a fault  and  the  color  without  glitter.  The  August  sun 
vigorously  warms  tlie  canvas,  but  you  find  not  there  those  capricious  rays  which  sport 
themselves  in  the  pictures  of  M.  Diaz,  like  scholars  in  vacation-time  : the  sun  of  Millet 
is  an  earnest  sun  which  ripens  the  grain,  which  makes  men  sweat,  and  loses  no  time  in 
trifling.’’  — F.dmond  About,  Salon  0/1S57. 

“ Very  different  from  the  mannerists  of  the  ugly,  who  under  a pretext  of  re.alism  sub- 
stitute the  hideous  for  the  true,  he  seeks  and  attains  style  in  the  rci>resentations  of  the 
types  and  scenes  of  the  country  ; he  knows  how  to  give  them  a rare  grandeur  and  noble- 
ness, while  he  in  no  sense  lessens  their  rusticity.  He  understands  the  inward  poesy  of 
the  fields,  he  loves  the  peasants  whom  he  represents,  and  in  their  resigned  figures  ex- 
presses his  sympathy  for  them.  The  seed-sowing,  the  harvest,  the  grafting,  are  they  not 
virtuous  actions  having  their  worth  and  their  grandeur?  Why  have  not  peasants  style  as 
well  as  heroes  ? ’’  — Thkophile  Gautier. 

“ The  aim  of  a great  painter  is  not  to  fly  aw.ay  towards  the  moon  and  the  stars  : it  is 
to  walk  with  a firm  step  and  a feeling  heart  in  the  p.ath  which  he  chooses,  always  sin- 
cere towards  himself,  towards  men,  and  towards  nature.  This  aim  Millet  had  ; and  it 
was  that  which  made  him  incomparable  and  immortal.’’ — THfiOPHiLE  Silvestre. 

Millet,  Aim^.  (Fr.)  Bom  at  Paris  about  1816.  Officer  of  the 
Legion  of  Honor.  Pupil  of  his  father,  of  David  d’ Angers,  and  A iol- 
let-le-Duc.  He  studied  both  painting  and  sculpture,  and  made  his 
debut  as  a painter  at  the  Salon  of  1842  ; he  continued  to  exhibit 
pictures  until  1852.  He  is  best  known  and  most  admired  as  a sculp- 
tor. Among  his  works  may  be  mentioned,  “Ariadne  ’ (at  the  Luxem- 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  121 


tjourg);  “Mercury”  (made  for  the  Louvre) ; “ Civil  Justice  ” (made 
for  the  Mairie  of  the  first  arrondissement  of  Paris)  ; the  tomb  of  Mur- 
ger,  “Youth  stripping  Leaves  from  Roses”;  “ Apollo  and  the  Muses 
of  Poetry  and  Dancing”  (group  in  bronze  for  the  New  Opera  at 
Paris);  “ Vercingetorix  ” (a  statue  in  copper,  repouss^),  erected  at 
Alise-Sainte-Reine  (Cote-d’Or),  and  “ Cassandra  placing  herself  under 
the  Protection  of  Pallas  ” (marble  group),  Salon  of  1877.  One  of 
the  most  interesting  works  of  this  sculptor  is  the  statue  of  Chateau- 
briand, erected  at  St.  Malo  (where  this  author  was  born)  on  Septem- 
ber 5,  1875.  Chateaubriand  is  represented  seated  on  a rock.  His  left 
hand  is  raised  to  support  the  head,  but  in  such  a way  that  the  entire 
face  is  visible  ; in  his  right  hand,  which  falls  on  the  lap,  he  holds  a 
crayon.  At  his  feet  are  exotic  plants  which  recall  the  travels  of 
Chateaubriand  when  young.  A leaf  of  the  “ Genius  of  Christianity” 
is  held  by  his  elbow  on  the  rock  against  which  he  half  supports  him- 
self ; he  is  enveloped  in  a large  cloak,  which  falls  gracefully  away 
from  the  upper  part  of  the  figure.  The  whole  effect  is  most  pleasing, 
and  the  statue  is  much  admired  for  its  conception  and  execution.  To 
the  Salon  of  1878  he  contributed  two  portrait  busts  in  marble. 

Millet,  Francis  D.  (Am.)  Born  in  Mattapoisett,  Mass.,  1846. 
He  studied  in  the  Royal  Academy  of  Arts  at  Antwerp  under  Van 
Lerius  and  De  Keyser,  gaining  the  silver  and  gold  medals  of  honor 
in  1872  and  ’73.  He  has  practiced  his  profession  in  the  United 
States,  Belgium,  England,  Italy,  France,  and  Austria.  He  has  painted 
a number  of  portraits,  the  most  important  being  those  of  Charles 
Francis  Adams,  Jr.,  and  of  Samuel  L.  Clemens  (Mark  Twain),  both 
exhibited  at  the  National  Academy,  New  York,  in  1877.  A large 
picture  called  “ The  Bay  of  Naples,”  at  the  Brussels  Salon  of  1875, 
was  at  the  American  Centennial  Exhibition  in  Philadelphia  in  1876. 
He  was  the  American  Art  Juror  at  the  Paris  Exposition  of  1878,  and 
has  distinguished  himself  as  a journalist  in  America  and  Europe. 

**  In  the  North  Room,  we  first  encounter  Mr.  Millet’s  portrait  of  Charles  Francis 
Adams,  Jr.  This,  and  the  portrait  of  Mark  Twain  at  the  other  end  of  the  room,  are  his 
only  contributions.  The  latter,  owing  to  its  subject,  is  the  more  characteristic.  Both 
portraits  are  excellent,  yet  with  higher  flesh-tints  than  the  originals  ; the  figures  are 
solid,  detach  themselves  immediately  from  the  background,  and  are  a refreshing  contrast 
to  the  dim,  vapory  forms  which  some  portrait-painters  give  us.”  — Bayard  Taylor,  in 
New  York  Tribune,  April  7,  1878. 

Mills,  Clark.  (Am.)  Bom  in  the  State  of  New  York,  1815.  He 
learned  the  trade  of  a plasterer  in  Charleston,  S.  C.,  beginning  about 
1835  the  modeling  of  busts  in  clay,  selling  his  ideal  heads  for  modest 
prices  for  some  years.  His  first  important  work  in  marble  was  a bust  of 
John  C.  Calhoun,  finished  in  1846,  for  which  he  was  awarded  a gold 
medal  by  the  City  Council  of  Charleston,  in  whose  possession  this  work 
still  is.  Going  thereafter  to  Washington,  D.  C.,  he  received  a com- 
mission from  Congress  for  the  equestrian  statue  of  Jackson  in  that 
city,  cast  from  cannon  captured  by  that  hero,  and  unveiled  on  the 
von.  II.  6 


122  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


8th  of  January,  1853.  For  this  Congress  voted  Mills  $ 20,000,  and 
$50,000  for  the  Washington  statue  unveiled  in  1860.  In  1863  he 
cast  in  bronze  the  statue  of  “Freedom,”  designed  by  Crawford,  and 
now  on  the  dome  of  the  Capitol.  A duplicate  of  the  Jackson  statue 
is  in  New  Orleans. 

“That  Clark  Mills  possesses  genius  cannot  be  doubted,  and  if  his  works  do  not 
possess  ail  of  the  conventional  graces  of  European  art,  he  has  certainly  produced  two 
statues  which  are  original  and  in  perfect  keeping  with  the  manly  vigor  of  the  Young 
Republic."*  — New  York  Round  Table,  1S6G. 

“Clark  Mills’  equestrian  statues  look  like  some  prodigious  Congressional  jokes  on 
art."  — Jarves’  Art  Thoughts. 

Milmore,  Martin.  (Am.)  Bom  in  Boston,  1845.  He  entered  the 
studio  of  Ball  in  1860,  and  in  1863  he  sent  to  the  Sanitary  Fair  a 
statuette,  entitled  “Devotion.”  He  studied  and  modeled  for  some 
time  in  Rome,  executing  there  busts  of  Pius  IX.,  Sumner,  Wendell 
Phillips,  Emerson,  and  other  noted  men.  He  received  the  commission 
for  the  Soldiers’  Monument  in  Boston,  unveiled  in  1877,  also  for  the 
Soldiers’  Monument  in  Forest  Hill,  Eoxbury,  Mass.  Among  his 
works  may  be  mentioned,  busts  of  Longfellow,  Theodore  Parker,  and 
of  George  Ticknor,  in  the  Public  Library,  Boston  ; one  of  E.  W. 
Emerson,  belonging  to  T.  G.  Appleton,  Boston  ; also  the  ideal  figures, 
of  large  size,  “ Ceres,”  “ Flora,”  and  “ Pomona,”  in  granite  on  the  Bos- 
ton Horticultural  HalL  His  bust  of  Charles  Sumner  was  presented 
to  George  William  Curtis  by  the  State  of  ^Massachusetts  in  1878.  He 
has  been  happy  in  representing  children.  A bust  of  a jmung  son  of 
ex-Governor  Claflin  of  Massachusetts  is  notable  among  his  works  of 
this  sort. 

“ Tlie  subject  is  most  gracefully  treated  [.Soldiers’  Monument,  Boston],  .uid  the  artist 
is  entitled  to  much  credit  for  the  skill  with  which  he  has  worked  out  a highly  poetic 
idea.”  — Art  Journal,  October,  1S77. 

The  Boston  Journal  of  September  18,  1877,  in  describing  the  un- 
veiling of  the  Soldiers’  Monument  on  Boston  Common,  says  : — 

“ In  this,  Mr.  Milniore’s  grandest  effort,  is  noted  tlie  purity  of  style  which  distin- 
guishes him  as  an  artist A most  striking  feature  of  the  monument,  and  one 

which  will  bear  the  most  careful  study,  is  the  series  of  bronze  bas-reliefs  which  are 
elaborately  executed  even  to  the  smallest  detail The  statue  of  " History  * dis- 
plays a knowledge  and  skill  which  stamp  it  as  the  work  of  genius In  viewing  the 

monument  as  a whole  the  spectator  cannot  fail  to  be  charmed  with  the  symmetry  and 
conijdeteness  of  the  structure.  The  immense  amount  of  labor  which  the  sculptor  lias 
performed  can  only  be  fully  realized  by  a close  inspection.” 

Minardi,  Tommaso.  (Ital.)  Born  at  Faenza  (1787  - 1871).  This 
artist  was  a member  of  several  Academies,  and  received  decorations 
from  several  monarcbs  of  Europe.  In  a concours  at  Milan,  Minardi 
gained  the  stipend  for  Rome,  where  he  received  from  the  engraver 
Longhi  a commission  for  a drawing  of  the  “ Last  Judgment  of  Michael 
Angelo,”  which  is  now  in  the  Gallery  of  the  Vatican.  While  at  Rome 
he  was  appointed  to  a professorship  in  Perugia,  where  he  became  so 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  123 


distinguished  that  he  was  made  professor  in  the  Academy  of  St. 
Luke  at  Eome.  His  “Vision  of  St.  Stanislaiis”  is  in  the  Doria 
Palace  ; the  “ Propagation  of  Faith,”  a masterly  work,  is  in  the  Qui- 
rinal ; “ Hector  reproving  Paris,”  at  Ravenna  ; the  “ Supper  at  Em- 
maus,”  at  Faenza  ; and  the  fresco  of  “ Lost  Souls”  at  Campo  Verano 
in  Rome.  Minardi  made  an  album  containing  four  hundred  represen- 
tations of  the  Holy  Family.  After  he  was  stricken  with  paralysis  he 
made  a lovely  crayon  drawing  of  “ Hippocrates  and  his  Scholars,” 
which  he  presented  to  his  physician,  Professor  Baccelli  of  Rome. 

Minor,  Robert  C.  (Am.)  Born  in  New  York,  1840.  He  studied 
art  in  Paris  under  Diaz,  and  in  Antwerp  under  Van  Luppen,  Boulan- 
ger, and  others,  traveling  through  Germany  and  Italy  for  some  time. 
His  studio  is  in  New  York,  and  he  has  exhibited  at  the  National 
Academy,  in  Brooklyn,  Chicago,  and  elsewhere  in  America.  Among 
his  works  are,  “ Evening,”  “ Dawn,”  “ Studio  of  Corot,”  etc.  He  is  a 
member  of  the  Society  of  American  Artists. 

‘‘When  we  come  to  the  works  of  our  resident  artists,  who  represent  what  may  be 
called  the  progressive  school  of  art,  we  find  much  to  admire.  Robert  C.  Minor’s  land- 
scapes are  always  as  intei'esting  as  they  are  characteristic.  They  are  strongly  impressed 

with  the  sentiment  of  the  place  and  the  hour  which  they  represent His  * Studio 

of  Corot,’  a charming  bit  of  landscape,  how  it  impres.ses  you  with  just  the  feeling  you 
would  have  in  the  solitude  of  the  country,  just  after  the  break  of  day,  and  before  the 
sun  has  burned  up  the  far-reaching  mists.”  — Boston  Transcript.,  March,  1878. 

'‘There  are  those,  doubtless,  who  will  blame  Mr.  Minor  for  direct  imitation  in  his 
‘ Studio  of  Corot,*  a landscape  not  surpassed  in  the  Exhibition.  But  apart  from  the  fact 
that  it  is  permitted  to  one  artist  to  see  a phase  of  nature  as  depicted  by  another,  why 
should  individuality  be  denied  an  artist  who,  seeing  and  loving  one  of  nature’s  aspects, 
endeavors  to  the  best  of  his  ability  to  acknowledge  his  indebtedness  to  the  man  who 
has  most  reverently  studied  and  most  adequately  expressed  that  same  aspect.  In  Mr. 
Minor’s  other  pictures,  especially  the  three  smaller  ones,  ‘ Autumn  Woods,’  ‘ Under  the 
Oaks,’  and  ‘ Evening  ’ [Society  of  American  Artists,  1878],  no  one  will  miss  individ- 
uality or  force,  though  prettiness  — one  of  the  banes  of  modern  art  as  of  modern  litera- 
ture-will not  be  found.”  — New  York  Evening  Mail,  March  8,  1878. 

Mintrop,  Theodor.  (Ger.)  Born  at  Heithausen  (1814-1870). 
This  painter  was  poor,  and  labored  as  a peasant  until  he  wa.s  thirty 
years  old,  when  his  sketches  came  under  the  notice  of  Geselchap,  who 
introduced  him  to  the  art  circles  of  Diisseldorf  and  secured  the  recog- 
nition of  his  remarkable  powers.  He  painted  but  little  in  oils.  His 
best  works  are  cartoons  and  friezes,  full  of  his  fancies.  Such  subjects 
as  “ Wine,”  “ Occupations  of  Winter,”  “ Life  in  the  Fields,”  and  the 
“ Apotheosis  of  Bacchus  ” were  thus  rendered  by  him,  and  are  worthy 
of  much  praise. 

M‘Kay,  William  D.  {Brit.)  Native  of  Gifford,  East  Lothian,  Scot- 
land. He  began  his  art  studies  in  1860,  in  the  Ornamental  Class  of 
the  School  of  Design  in  Edinburgh.  Later,  he  studied  under  Robert 
Scott  Lauder  from  the  antique,  gaining,  in  1863,  a first  prize  for  the 
best  study  in  monochrome,  and  entering  the  same  year  the  Life  Schools 
of  the  Royal  Scottish  Academy.  He  was  elected  an  Associate  of  the 


124  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Royal  Scottish  Academy  in  1877,  exhibiting  regularly  in  its  gallery. 
Ilis  specialty  is  landscapes  with  cattle  and  figures.  His  professional 
life  has  been  spent  in  Edinburgh.  Among  his  pictures  may  be  noted, 
“An  October  Morning,”  “ Field- Working  in  Spring,  — at  the  Potato 
Pits,”  “ Twilight,”  “ Seedtime,”  etc. 

Molteni,  Giuseppe.  (Ital.)  Bom  at  Alferi,  near  Milan  (1800- 
1867).  Member  of  the  Academy  of  Milan  and  Conservator  of  the 
Brera  Gallery.  Pupil  of  the  Academy  of  Milan.  His  picture  of  “ The 
Confession  ” is  in  the  Vienna  Gallery.  “A  Holy  Family  ” is  at  the 
National  Gallery,  Berlin.  His  works  are  principally  in  private  col- 
lections. Molteni  gained  several  medals,  and  received  the  decorations 
of  various  orders. 

Monchablon,  Xavier  Alphonse.  (Fr.)  Bom  at  Avillers.  Prix 
de  Rome,  1863.  Medals,  1869  and ’74.  Pupil  of  Cornu  and  Gleyre.  At 
the  Salon  of  1877  he  exhibited  “The  Toilet  of  Venus”;  in  1876,  a 
portrait  and  “ Jeanne  d’Arc”;  in  1875,  “ Salvator  Mundi”  and  two 
portraits  ; and  in  1878,  “A  Fallen  Titan”  and  “Summer,”  “August,” 
and  “ October,”  three  decorative  panels. 

Montagny,  Etienne.  (Fr.)  Born  at  Saint-Iitienne,  1816.  Chev- 
alier of  the  Legion  of  Honor.  Pupil  of  Rude  and  David  d’ Angers. 
His  “ Saint  Louis  de  Gonzague  ” (1864)  is  at  the  Luxembourg.  In  1877 
he  exhibited  “ St.  Francis  of  Assisi,”  a statue  in  stone,  and  “ Hope,” 
statue,  plaster ; in  1873,  “ Mater  Dei,”  statue,  a font.  His  portrait 
busts  and  statues  are  numerous,  and  many  have  been  seen  at  the 
Salons. 

Montalba,  Clara.  {P>rit.)  A native  of  Cheltenham.  She  studied  in 
Paris  under  Eugene  Isabey,  spending  her  professional  life,  which  began 
in  1874,  in  London  and  Venice.  She  M'as  elected  an  Associate  of  the 
Society  of  Painters  in  Water-Colors  in  1874,  and  has  been  a member 
of  the  Societe  des  Acquarellistes  Beiges  since  1876.  Among  the  more 
important  of  her  works  are,  “The  Last  Journey”  (7  by  44),  in  oil 
(R.  A.,  1878) ; “Clearing the  Customs,”  water-color  (never  exhibited), 
4 by  6 feet  (Ijoth  belonging  to  W.  Ingram,  M.  P.),  “ Blackfriars’ 
Bridge,”  “ Fishing-Boats,”  “ Venice,”  etc.  Her  “ Blessing  a Tomb, 
Westminster,”  was  at  the  Philadelphia  Exhibition  of  1876,  and  her 
“Corner  of  St.  Mark’s,  Venice  ” and  “Fishing-Boats,  Venice”  (all  in 
water-colors)  were  at  Paris  in  1878. 

‘*‘11  Guardino  Publico  * stands  foremost  among  the  few  redeeming  features  of  the 
Exhibition  [Society  of  British  Artists,  1874].  In  delicate  perception  of  natural  beauty 
the  picture  suggests  the  example  of  Corot.  Like  the  great  Frenchman,  Miss  Montalba 
strives  to  interpret  the  sadder  moods  of  Nature,  when  the  wind  moves  the  water  a little 
mournfully,  and  the  outlines  of  the  objects  become  uncertain  in  the  filmy  air.” — Art 
Journal,  Januaiy',  1S74. 

Monteverde,  Giulio.  (Ital.)  Bom  at  Bristagno,  near  Acqui, 
about  1836.  Professor  in  the  Academy  at  Rome.  The  prize  of  4,000 
lire  given  at  the  National  Exhibition  of  Fine  Arts  at  ililan  was 
awarded  to  the  “ Genius  of  Franklin,”  executetl  by  this  sculptor.  The 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  125 


■w'ork  was  purchased  by  the  Khedive  of  Egypt,  who  conferred  on  Mon- 
teverde  the  diploma  and  insignia  of  Commendatore  of  Medjie.  A.t 
the  Vienna  Exposition  his  group  of  “Jenner  inoculating  his  little 
Daughter,”  though  only  in  plaster,  attracted  much  attention  and 
gained  the  gold  medal,  to  which  was  added  the  title  of  Commendatore 
of  the  Order  of  Francis  Joseph.  One  of  the  latest  works  of  this  Ro- 
man artist  is  a colossal  monumental  group,  in  honor  of  Riva  of  Turin. 
A statue  called  “ The  First  Inspirations  of  Columbus  ” is  in  the  Boston 
Art  Museum.  At  Munich  in  1870  he  exhibited  “ Children  playing 
with  a Cat”  (belonging  to  the  King  of  Wiirtemberg).  Several  works 
by  this  artist  were  at  the  Paris  Exposition  in  1878,  and  his  model  for 
the  monument  of  Count  Massari  was  much  praised  by  Anatole  de 
Montaiglon  in  the  “ Gazette  des  Beaux- Arts,”  July,  1878. 

Monvel,  Louis-Maurice  Boutet  de.  (Fr.)  Born  at  Orleans. 
Pupil  of  Cabanel,  G.  Boulanger,  J.  Lefebvre,  and  Carolus  Duran. 
Medal  of  third  class  in  1878,  when  he  exhibited  “ The  Good  Samar- 
itan ” and  a portrait;  in  1877,  he  sent  “ The  Toilet  of  Venus  ” and  a 
portrait ; in  1876,  two  portraits. 

Mooney,  Edward,  N.  A.  (dm.)  Born  in  Kew  York,  1813. 
He  studied  in  the  National  Academy,  gaining  a gold  medal  for  an 
original  design  of  a single  figure  in  oil.  He  was  also  a pupil  of  In- 
man and  of  William  Page.  He  has  spent  his  professional  life  in  his 
native  city,  working,  however,  during  three  winters,  in  Columbus,  Ga., 
and  one  in  Savannah.  His  summer  house  is  at  Red  Hook,  New 
York.  His  specialty  has  been  portrait-painting.  He  was  elected  an 
Associate  of  the  National  Academy  in  1839  and  Academician  in  1840. 
Among  the  better  known  of  Mr.  Mooney’s  portraits  is  that  of  Achmet 
Ben  Aman,  Commander  of  the  ship  “ Sultan,”  and  representative  of 
the  Imaum  of  Muscat  to  the  United  States,  which  was  at  the  National 
Academy  in  1840,  and  was  purchased  by  the  Common  Council  of 
New  York.  His  portraits  of  ex-Mayors  Isaac  L.  Varian,  Andrew 
Mickle,  and  Jacob  R.  Westervelt  are  in  the  City  Hall,  New  York; 
that  of  Judge  Edmunds  belongs  to  the  New  York  Bar  Association; 
and  that  of  Governor  Seward  is  in  the  State  House  at  Albany. 

Moore,  George  B.  (Brit.)  (1806-1876.)  Engaged  for  some 
years  as  a teacher  of  drawing  in  the  University  of  London  and  in 
the  Military  Academy  at  Woolwich.  Was  the  author  of  several  useful 
educational  works  on  art  subjects.  He  has  not  exhibited  at  the  Royal 
Academy  since  1859. 

Moore,  Albert.  (Brit.)  A native  of  York.  He  studied  in  the 
Langhani  Life  Classes  in  London,  and  has  practiced  his  profession  in 
the  English  metropolis  for  some  years.  His  specialty  is  the  human 
figure,  treated  in  a decorative  style.  Among  his  later  pictures  are, 
“ Garnets,”  at  the  Royal  Academy,  in  1878;  “Birds,”  at  the  Grosvenor 
Gallery,  the  same  year.  To  the  Royal  Academy,  in  1871,  he  sent 
“ Battledoor  ” and  “ Shuttlecock,”  companion  pictures  ; in  1874, 


126  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


“Shells”;  in  1875,  “The  Flower-Walk”;  in  1876,  “Beads”;  etc. 
His  “ Finis,”  “ Beads,”  and  the  “ Palm  Fan  ” were  at  the  Paris  Expo- 
sition of  1878. 

" Albert  Moore  is  indeed,  I think,  so  far  as  atfy  contiguity  of  modem  to  ancient  art 
may  be  predicted  at  all,  nearer  in  spirit  to  the  Greek  than  any  other  artist  among  us. 
....  He  stands  ne.arly  alone  in  our  day  in  his  realization  of  an  ideal  physical  nobleness 
in  the  human  type,  and  in  his  power  of  arranging  and  combining  the  lines  of  the  human 
form  into  visible  rhji.hm  and  symmetry,  not  less  delightful  than  are  the  audible  rhythm 
and  symmetry  of  music.”  — Sidney  Colvin,  in  English  Painters  of  the  Present  Day. 

“ The  motives  of  Albert  Moore’s  art  certainly  differ  widely  from  that  of  most  of  his 
contemporaries ; it  diffei's  also  from  the  spirit  of  much  that  is  great  in  modem  painting. 
His  purpose  does  not  include  either  sentiment  or  passion,  and  the  form  and  color  of  his 
work  are  suggested  by  the  simplest  incidents  of  physical  movement”  — Art  Journal, 
July,  1874. 

‘‘  ‘ The  Reader  ’ is  the  finest  picture  in  the  whole  fifteen  hundred  [Royal  Academy, 

1877] Tlie  veiy  essence  of  the  purity  of  coloring  has  been  introduced  by  Mr. 

Albert  Moore  into  this  single  figure,  which,  clad  in  the  artistic  peculiar  shade  of  red 
overhung  with  white,  stands  engrossed  in  the  pamphlet  she  easily  balances  in  her  hands. 
All  Mr.  Moore's  works  testify  to  that  rare  quality  of  the  good  effect  produced  by  contrast 
of  color,  and  the  value  obtained  by  placing  it  judiciously  in  small  quantities.  ” — London 
Observer,  May,  1877. 

” To  a more  purely  decorative  school — for  he  banishes  emotion  altogether — belongs 
Mr.  Albert  Moore,  who  has  studied  the  treatment  of  draperies  in  the  Greek,  ratherthan  in 
the  Italian  school,  and  who  works  in  a key  of  color,  or  rather  of  tinting,  all  his  own. 
He  has  a way  of  throwing  his  flesh  into  half-shadow,  whilst  the  accessories  are  brilliant, 
and  the  color  of  this  h.ilf-shadow  is  objectionable,  — heavy  gray  with  a tinge  of  riolet ; 
this  is  his  one  flaw  as  a colorist,  and  we  have  long  remarked  it.  He  draws  very  suffi- 
ciently well,  but  no  more  than  that ; and  he  h.as  an  intelligent  energy  of  action,  which 
does  not  mar  decorative  repose  ; of  this  his  ‘ Birds  ’ is  an  example.  His  plan  of  yellow 
is  exquisitely  fanciful  and  inventive,  and  in  these  fine  variations  he  uses  as  his  strongest 
accent  orange-color,  the  one  hue  all  but  universally  avoided  in  art;  with  happy  eflect.” 
— Magazine  of  Art,  July,  1878. 

Moore,  Henry.  (Brit.)  A brother  of  Albert  Moore,  and  a pupil 
of  the  Langham  Schools.  He  paints  landscapes  and  marine  views, 
particularly  the  latter,  in  oil  and  water  colors.  He  has  a studio  in 
London,  exhibiting  frequently  at  the  Royal  Academy  for  some  years. 
He  was  at  one  time  a member  of  the  Society  of  British  Artists,  and 
was  elected  an  Associate  of  the  Society  of  Painters  in  Water-Colore 
in  1876.  Among  his  works  in  oil  may  be  noted,  “Loss  of  a Barque 
in  Yarmouth  Roads,”  “The  Last  of  the  Light,”  “ Mist  and  Sunshine,” 
“ Highland  Pastures,”  “ Moonlight,”  etc.  In  water-colors  he  has  exhib- 
ited “ Sunset  in  the  Highlands,”  “ The  First  Snow  of  Autumn,”  “ A 
Fresh  Breeze”  (marine),  “A  Salmon  Pool,”  “A  Jlountain  Loch,”  and 
others.  To  the  Philadelphia  Exhibition  of  1876  he  sent  “A  lYinter 
Gale  in  the  Channel  ” and  “ Storm  coming  on  at  Sunset,  Coast  of 
North  Wales,”  both  in  oil.  To  Paris,  in  1878,  he  sent  (also  in  oil- 
colors)  “Rough  Weather  in  the  Mediterranean”  and  “A  Bright 
Morning  after  a Gale.” 

“ ‘ Against  the  Tide  ’ [w,ater-colorJ  is  by  an  artist,  Henry  Moore,  who  describes  the 
different  moods  of  tlie  sea  with  language  peculiarly  forcible,  and  without  exhausting  his 
means  of  effect  with  exaggerated  masses  of  ivater.”  —Art  Jourmxl,  March,  1873. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  127 


“ H.  Moore's  ‘ Loss  of  a Barque  * is  a vessel  aground  and  swamped  by  breakers.  The 
-movement  of  the  waves  is  powerfully  rendered,  and  the  sea  is  very  truly  painted  ; there 
is  much  beauty  in  the  effect  of  light  and  local  color ; the  modeling,  though  the  reverse 
of  smooth,  is  characteristic  of  the  painter.”  — London- Atlienfeum^  May,  1877. 

“ We  must  give  strong  praise  to  Henry  Moore’s  ‘ Highland  Pastures,’  a picture  which 
unites  with  the  artist’s  invariable  mastery  of  hand  and  knowledge,  a repose  and  reserve 
of  color  which  are  less  usual  in  his  works.”  — Magazine  of  Art^  August,  1878. 

Moore,  H.  Humphrey.  {Am.)  Born  in  New  York,  1844.  Dis- 
played a taste  for  art  at  an  early  age;  studied  in  his  native  cit}^  and  in 
San  Francisco.  In  1865  he  went  to  Munich.  After  some  time  spent 
there  and  in  I’Ecole  des  Beaux-Arts  in  Paris,  he  entered  the  studio  of 
Gcrome.  Later,  going  to  Spain,  he  met  Fortuny  at  Madrid,  whose 
friend  and  pupil  he  became.  He  devoted  two  years  to  the  study  of 
Moorish  life,  and  between  the  years  1873  and  ’75,  he  worked  in  Rome 
with  Fortuny  on  his  “ Almeh.”  In  1875  he  returned  to  the  United 
States.  Among  his  better- known  pictures  are  his  “Almeh,”  “Blind 
Guitar-Player  ” (belonging  to  Robert  Graves  of  Tarrytown),  “ Gypsy 
Encampment,  Granada,”  “ Moorish  Bazaar  ” (belonging  to  Charles  S. 
Smith  of  New  York),  “ Let  Me  Alone  ! ” (in  the  collection  of  J udge  Hil- 
ton), “ A Bulgarian,”  “ Moorish  Merchant,”  etc.  He  received  a medal 
for  the  “ Almeh  ” at  the  Philadelphia  Centennial  Exhibition  of  1876. 

“ ‘ The  Moorish  Merchant,’  by  H.  H.  Moore,  is  a very  strongly  painted  picture,  illus- 
trative of  a scene  in  Tangiers,  where  the  picture  was  painted.  We  believe  Mr.  Moore 
was  once  a pupil  of  Fortuny  ; at  any  rate,  his  art  motives  and  ideas  are  of  the  character 
of  that  artist.  The  drawing  of  this  picture  deserves  marked  a,ttention,  and  the  coloring, 
although  necessarily  gay,  is  true  to  nature.  The  heads  are  characteristic  both  of  the 
race  and  with  reference  to  the  action  of  the  scene.”  — Buffalo  Courier,  February  7,  1877. 

“ The  figure  of  the  swaying,  admirably  drawn,  and  poised  woman  has  the  modesty  of 
unconsciousness,  associated  with  gayety  ; the  abandon  of  delight  in  a voluptuous  dance 
without  the  expression  or  manner  of  one  impure.  The  dance,  or  rather  body-swaying,  of 
the  ‘ Almeh  ' is  located  by  the  artist  in  one  of  the  gorgeous  halls  of  the  Alhambra,  fres- 
coed in  the  intricate  and  dreamy  harmony  of  Moresque  decorations,  and  over  the  floor 
is  spread  a carpet  rich  in  warm  hues.  The  attitude  of  the  girl  leaves  the  body  semi-nude, 
and,  while  correct  in  iioint  of  costume,  is  contrived  v/ith  consummate  judgment  for  effect 
in  color.*’  — San  Francisco  Morning  Call,  November  11,  1877. 

Moran,  Edward,  A.  N.  A.  (Am.)  Born  in  Lancashire,  England, 
1829.  Elder  brother  of  Peter  and  Thomas  Moran.  He  arrived  in 
Philadelphia  in  1844,  and  was  a pupil  of  James  Hamilton,  marine- 
painter,  and  of  Paul  Weber,  landscape-artist.  He  went  abroad  in 
1862,  studying  in  the  Royal  Academy,  London,  for  a few  months.  In 
1869  he  settled  in  New  York,  going  to  Paris  in  1877,  where  lie  still 
resides  (1878).  He  is  a member  of  the  Philadelphia  Academy  of  Fine 
Arts,  and  was  elected  an  Associate  of  the  National  Academy  in  1873. 
His  first  pictures  were  exhibited  in  Philadelphia  in  1853.  Among 
the  better  known  of  his  works  are,  “ Mt.  Lafayette  from  Franconia, 
N.  H.,”  “ Bay  of  New  York  ” (several  views),  “ Liberty  enlightening 
the  World,”  “ Launch  of  the  Life-Boat  ” (owned  by  Matthew  Read  of 
Philadelphia),  “ The  Lord  staying  the  Waters  ” (owned  by  Robert 
Hare  Powell,  Philadelphia),  “Outward  Bound”  (owned  by  Charles 


128  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Sharpless,  Philadelphia),  “The  Last  from  the  Wreck,”  “The  Tempest, 
from  ‘ David  Copperfield,’  ” “ The  Bottom  of  the  Sea,”  “ The  Arrival 
of  the  Relief  Ship  at  Havre,”  “ Old  Fort  Dumpling,  Newport”  (be- 
longing to  George  L.  Thayer  of  Boston),  etc. 

To  the  Centennial  Exhibition  of  1876  he  sent  “The  Hawk’s  Nest  ” 
and  “ Minot  Ledge  Light  ” (belonging  to  Mrs.  H.  E.  Lawrence),  “ The 
Winning  Yacht”  (belonging  to  W.  A.  Caldwell),  “Moonlight  in 
New  York  Bay  ” and  “ Coming  Storm  over  New  York  Bay  ” (belong- 
ing to  R.  E.  Moore).  Mr.  Moran  is  at  present  turning  his  attention 
]rarticularly  to  figure-painting  in  Paris,  and  with  promise  of  much 
success. 

" Mr.  Moran  very  justly  merits  the  reputation  which  he  enjoys  as  an  eminent  land- 
scape and  marine  painter,  for  it  has  been  earned  by  diliijent  application,  combined  with 
close  observation  of  nature.  He  seems  to  be  constituted  peculiarly  for  an  artist,  for 
with  quick  perceptive  faculties  and  a mind  capable  of  reflection,  the  task  of  transcrib- 
in"  and  translating  with  truthfulness  the  simple  beauties  and  refined  grandeur  of  the 
land  and  sea  has  not  been  to  him  an  irksome  toil,  but  has  proved  a pleasure  ; conse- 
quently, his  pictures  have  in  the  highest  degree  the  quality  of  imparting  delight  to 
others.  An  appreciative  observer  cannot  fail  to  regard  them  as  faithful  and  intelligent 
interpretations  of  the  truth  and  the  sentiment  of  ever-varying  nature The  versa- 

tility of  this  artist  is  also  unusual,  for  there  are  few  subjects  of  general  interest  in  the 
outer  world  that  he  has  not  touched.  The  willow-copse  and  the  lilj’-pond,  the  caves  of 
ocean  and  the  mountain  snow-hooded  and  severe,  children  busy  with  nets  or  playing  on 
the  shelly  sand,  the  freshness  of  spring  and  the  glory  of  autumn,  are  among  his  produc- 
tions."— rhiladdpliia  Evening  Bulletin,  March  6,  1S71. 

*■  ‘ In  the  Narrows,’  by  Edward  Jloran,  is  the  finest  marine  we  have  yet  seen  from  his 
pencil.  Nothing  could  be  sinqiler  in  plan  or  color.  ....  Tlie  great  chann  of  the  pic- 
ture is  motion.  That  is  something  far  beyond  effects  of  technique.  Everything  is  in 
swift  or  beautiful  motion.  The  fomis  of  the  w.ater  are  exquisitely  chiseled,  so  sharp  and 
yet  so  fleeting,  and  painted  all  with  two  colors,  the  local  color  of  the  water  and  its 
shadow  color.  The  drawing  shows  no  random  work,  but  every  stroke  laid  on  with  con- 
summate knowledge.”  — Baltimore  Gazette,  July  1,  1S73. 

Moran,  Thomas.  (Am.)  Born  in  Lancashire,  England,  1837. 
Brother  of  Edward  and  Peter  Moran.  He  was  taken  to  America  in 
1844.  Displayed  artistic  tastes  at  an  early  age,  and  was  apprenticed 
to  a wood-engraver  in  Philadelphia,  remaining  with  him  for  two 
years.  He  turned  his  attention  to  water-color  painting,  studying 
without  a master.  In  1860  he  began  the  use  of  oils,  his  first  picture 
being  an  illustration  of  Shelley’s  “ Alastor.”  He  went  to  Europe  in 
1862,  and  again  in  1866,  studying  and  copying  on  his  first  msit  the 
works  of  Turner  in  London  ; on  his  second,  the  old  masters  in  France 
and  Italy.  In  1871  he  accompanied  the  Exploring  Expedition  to  the 
Yellowstone  Country,  and  in  1873  went  upon  a similar  expedition 
under  Major  Powell,  making  sketches  for  his  two  great  works,  “ The 
Grand  Canon  of  the  Yellowstone  ” and  “ The  Chasm  of  the  Colo- 
rado,” which  were  purchased  by  Congress  for  $ 10,000  each,  and  are 
both  in  the  Capitol  in  Washington.  His  studio  was  in  Philadelphia 
until  1872,  when  he  removed  to  New  York.  He  is  an  Academician 
of  the  Pennsylvania  Academy  of  Fine  Arts,  a member  of  the  Artists’ 


AMTISTS  OF  THE  NINETEENTH  CENTURY.  129 


Jund  Society  of  Philadelphia,  of  the  Society  of  American  Painters  in 
'Water-Colors,  and  of  the  Society  of  American  Artists,  organized  in 
1878.  Among  the  more  important  of  Mr.  Moran’s  works  may  be  men- 
tioned, “ The  Last  Arrow  ” (belonging  to  Mr.  Baird  of  Philadelphia), 
“ The  Eipening  of  the  Leaf  ” (to  Mr.  Drexel),  “ The  Groves  were 
God’s  First  Temples  ” (to  Dr.  J.  M.  Sommerville  of  Philadelphia), 
“ The  Remorse  of  Cain”  (to  V.  Stausse,  Philadelphia),  “ The  Chil- 
dren of  the  Mountain  ” (at  the  Paris  Exposition  of  1867,  belonging  to 
Roswell  Smith  of  New  York),  “ The  Cliffs  of  Green  River  ” (to  John 
Taylor  Johnston  of  New  York),  “The  First  Ship,”  “ Ponce  De  Leon 
in  Florida,”  “ A Dream  of  the  Orient,”  “ A Ride  for  Life,”  etc.  Many 
of  these  have  been  exhibited  in  New  York,  Philadelphia,  and  other 
American  cities.  He  sent  to  the  Centennial,  in  1876,  “ The  Moun- 
tain of  the  Holy  Cross,”  and  others,  for  which  he  received  a medal 
and  diploma. 

Besides  painting  in  oil  and  water-color,  Thomas  Moran  has  made 
many  illustrations  for  books  of  travel,  history,  etc.,  the  original  water- 
color  drawings  for  Prang’s  “Yellowstone  National  Park”  (the  most 
elaborate  work  of  the  kind  yet  produced  in  this  country),  and  has  de- 
voted much  time  to  lithography  and  other  methods  of  engraving. 

“ Next  to  Church’s  ‘ Niagara,’  Mr.  Moran’s  ‘ Great  Cahon  of  the  Yellowstone  ’ will, 
we  are  sure,  he  received  by  the  best  judges  of  America  as  the  finest  historical  landscape 
yet  painted  in  this  country.  In  its  original,  no  less  than  by  its  actual  achievement,  it 
deserves  to  be  placed  so  near  to  the  most  famous  picture  that  ever  came  out  of  an 

American  studio The  composition  is  arranged  with  great  skill ; the  tree  drawing 

is  most  satisfactory,  and  the  variety,  the  richness,  the  delicacy  of  the  color,  must  sur- 
prise those  who  have  learned  from  other  artists  that  nature  in  those  regions  is  dressed 
mostly  in  hodden-gray.”  — C.  C.,  in  New  York  Tribune,  May3, 187’2. 

“ The  shrubbery  and  the  foliage  are  painted  with  a free  but  at  the  same  time  a careful 
hand,  and  even  though  occupying  a subordinate  place  in  the  picture  (*  The  Mountain 
of  the  Holy  Cross  ’),  are  finished  to  a high  degree.  Mr.  Moran’s  touch  has  greatly  im- 
proved in  firmness,  crispness,  and  certainty,  and  in  this  canvas  he  shows  a thorough 
command  over  the  technique  of  his  art.  The  only  point  in  which  he  seems  to  have 

failed  is  in  giving  distance.  The  picture  seems  to  lack  atmosphere Beyond  this  we 

have  only  praise  to  bestow  on  the  pictui'e.”  — Boston  Saturday  Evening  Gazette,  Novem- 
ber 14,  1875. 

“ Of  the  fidelity  of  this  painting,  ‘ The  Mountain  of  the  Holy  Cross,’  to  the  special 
characteristics  of  the  Rocky  Mountains  no  traveler  in  the  far  West  can  hold  one  moment 
of  question.  Of  the  skill  in  management  there  can  be  as  little  difference  of  opinion.”  — 
Aldine,  April,  1875. 

Moran,  Peter.  (Am.)  Born  in  Bolton,  Lancashire,  England, 
1842.  He  went  first  to  America  as  a child,  and  began  the  study  of 
art  under  his  brother,  Thomas  Moran,  in  Philadelphia.  In  1863  he 
went  to  London,  and  spent  some  time  in  studying  the  English  mas- 
ters, but  he  has  never  been  connected  with  any  particular  .school  of 
painting.  He  was  elected  a member  of  the  Artists’  Fund  Society  in 
1867,  and  of  the  Pennsylvania  Academy  of  Fine  Arts  in  1868.  He 
has  spent  his  professional  life  in  Philadelphia,  where  many  of  his  pic- 


130  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


tiires  have  been  exhibited  and  are  owned.  To  the  Centennial  Exhibi- 
tion of  1876  he  sent  “ The  Return  of  the  Herd  ” (for  which  he  received 
a medal)  and  “ A Settled  Rain  ” (sheep  in  a barnyard),  which  was 
purchased  by  a gentleman  of  New  York.  He  received  also  a medal 
for  his  etchings  on  copper,  — five  frames  of  animal  subjects.  To  the 
National  Academy,  in  1875,  he  sent  “A  Sunny  Slope”  ; in  1876, 
“Sand  Hills,  Atlantic  City.”  His  “After  the  Chase  ” (rough  hounds 
on  the  outskirts  of  a wood  in  autumn)  is  owned  by  P.  A.  Widner  of 
Philadelphia,  and  his  “ Twilight,  — Sheep  returning  Home  ” (never 
publicly  exhibited)  is  hi  the  collection  of  W.  H.  Whitney  of  the  same 
city. 

**  Peter  Moran’s  excellent  etchings  are  very  varied  in  style  and  subject,  and  show  a 
thorough  mastery  over  the  resources  of  the  etching-needle.”  — Art  Journal,  June,  1S67. 

Moreau,  Mathurin.  {Fr.)  Bom  at  Dijon  about  1824.  Chevalier 
of  the  Legion  of  Honor.  Pupil  of  Ramey  and  Dumont.  His  “ Spin- 
ning-Girl ” (1861)  is  at  the  Luxembourg.  This  sculptor  has  usually 
represented  such  subjects  as  “ Spring,”  “ Summer,”  “ Meditation,”  etc., 
which  require  single  figures.  His  groups  are,  “ Sleeping  Children,” 
“ Saltarella,”  “ Primavera,”  etc.  To  the  Salon  of  1878  he  sent  a statue 
of  “ Oceanie  ” and  a statuette  of  “ Phryne.” 

Moreau,  Mathurin-Auguste.  (Fr.)  Bom  at  Dijon.  Son  and 
pupil  of  the  preceding.  He  received  a third-class  medal  in  1874, 
when  he  exhibited  “ Hylas,”  statue,  jil.aster  ; “ Children,”  bas-relief, 
terra-cotta  ; and  “ Rita,”  bust,  bronze.  In  1877  he  exhibited  “ The 
Path  of  Flowers,”  group,  plaster. 

Moreau,  Adrien.  (Fr.)  Bom  at  Troyes.  Medal  in  1876.  Pupil 
of  Pils.  At  the  Salon  of  1877  were  “ The  Tziganes  ” and  “ Under 
the  Shrubbery  ” ; in  1876,  “ Repose  at  the  Farm  ” and  a “ Fair  in  the 
Middle  Ages”  ; in  1878,  “ Gypsies  of  Granada  ” and  “Le  menuet.” 

Moreau,  Gustave.  (Fr.)  Bom  at  Paris.  Chevalier  of  the  Legion 
of  Honor.  Pupil  of  Picot.  At  the  Salon  of  1876  he  exhibited,  “ Her- 
cules and  the  Hydra  of  Lernse,”  “ Salome,”  and  some  sketches  in 
water-colors.  His  picture  of  “ The  Swimming  Lesson  ” is  a pleasing 
work.  His  “Orpheus”  (1868)  is  at  the  Luxembourg. 

Moreau-Vauthier,  Augustin  Jean.  (Fr.)  Born  at  Paris.  Med- 
als at  Paris  in  1865  and  ’75.  Pupil  of  Toussaint.  At  Philadelphia  he 
exhibited  a “Young  Italian  Shepherd,”  in  bronze,  and  received  a 
medal.  To  the  Salon  of  1878  he  contributed  “St.  Genemeve  ” (mar- 
ble statuette)  and  “ Fortune  ” (plaster  statue). 

Morelli,  Domenico.  (Ital.)  Born  at  Naples,  1826.  Honorary 
Member  of  the  Academy  of  St.  Fernando  of  Spain  at  Madrid  ; of  the 
Royal  Academy  of  Archaeology,  Literature,  and  Fine  Arts  of  Naples  ; 
and  of  all  the  Academies  of  Fine  Arts  of  Italy.  Commander  of  the 
Orders  of  SS.  Maurice  and  Lazarus,  and  of  the  Crown  of  Italy,  and 
Cavalier  of  the  Order  of  Civil  Merit  of  Savoy.  He  resides  at  Naples, 
and  was  sent,  when  quite  young,  to  Rome  by  the  Neapolitan  govern- 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  131 


ment.  He  was  the  pupil  of  Prof.  Caiuillo  Guerra.  In  18-55  he  took 
the  first  prize  at  the  Exposition  at  Naples  ; at  the  National  Exposition 
of  Italy  in  1861,  and  at  the  Paris  Exposition  of  1867,  he  received  gold 
medals.  Among  his  works  are,  “ Cesare  Borgia  at  the-  Siege  of 
Capua,”  owned  by  Count  Tosca  of  Palermo  ; “ Christian  Martyrs,” 
in  the  Gallery  of  Capo  di  Monte  ; “ The  Assumption,”  in  the  Royal 
Chapel  at  Naples  ; “ Tasso  and  Eleonora”  ; a “ Madonna  and  Child,” 
in  the  church  of  Castellani,  which  has  been  praised  by  Prof.  Villari ; 
a “ Christ,”  painted  for  the  composer  Verdi  ; an  “ Odalisque  after  the 
Bath  ” ; etc.  The  works  of  Morelli  are  much  praised  by  Italian 
critics,  and  in  “Volere  and  Potere  ” Sig.  Lessona  has  devoted  a 
chapter  to  him.  At  the  Paris  Exposition  of  1878  were  his  “ Oda- 
lisque ” and  “ The  Temptation  of  St.  Anthony.” 

“ Tlie  Neapolitan  Morelli  paints  sacred  subjects  in  a less  ludicrous,  declamatory  .style, 
but  after  a curious  manner,  equally  removed  from  any  profound  feeling.  He  is  versatile 
and  clever,  but  neither  sincere  nor  skillful  enough  to  revive  the  dubious  merits  of  the 
Spagnuola  school  of  his  native  city,  whose  technical  eccentricities  he  affects.  So  far  as 
my  observation  goes,  the  ‘ professors  ’ of  art,  like  those  of  literature,  darken  knowledge 
rather  than  enlighten  the  people  or  advance  taste.’’  — Jarves,  Art  Thoughts. 

Morgan,  William,  N.  A.  (Am.)  Born  in  London,  1826.  He 
has  spent  the  greater  part  of  his  life  in  New  York,  receiving  his  art 
education  in  the  schools  of  the  National  Academy.  Among  his  more 
important  paintings  are,  “ Emancipation,”  in  the  Olyphant  Collec- 
tion (exhibited  at  the  National  Academy  in  1868)  ; “ The  Legend  ” 
(N.  A.,  1875),  belonging  to  Governor  Fairbanks  of  Vermont  ; “ Song 
without  Words”  (N.  A.,  1876),  belonging  to  Mr.  Butcher  of  New 
York  ; “ Motherhood  ” ; “ Reverie  ” ; “ The  Oracle  ” ; etc. 

“ From  the  easel  of  William  Morgan  there  is  a half-length  life-sized  figure  of  a girl, 
seated  in  an  old  library,  surrounded  by  musty  books.  The  subject  is  entitled  ‘The 
Legend,’  and,  aside  from  its  unexpressive  name,  forms  a delightful  study.  The  pose  i.s 
exceedingly  graceful,  and  the  modeling  of  the  face,  neck,  and  arms  is  painted  with  rare 
taste.” — Art  Journal,  May,  1875. 

Morgan,  Matthew  (“  Matt  ”).  (Brit.- Am.)  Born  about  1840. 
He  was  a pupil  of  Telbin,  v'ith  whom  he  worked  for  some  years.  He 
painted  scenery  at  Drury  Lane  Theater,  and  while  engaged  at  that 
house  developed  a taste  for  caricature,  which  led  to  his  becoming 
connected  with  the  London  Tomahawk,  a comic  illustrated  journal. 
Later,  he  went  to  Spain,  making  many  large  designs  in  water-colors. 
After  his  return  to  London  he  was  engaged  by  Mr.  Frank  Leslie,  for 
that  publisher’s  newspaper,  and  went  to  America  about  1865  or  ’66, 
as  a rival  to  Thomas  Nast,  who  was  furnishing  political  caricatures 
for  the  Harpers.  Later,  Mr.  Morgan  was  employed  by  Jarrett  & 
Palmer  and  other  theatrical  managers  in  New  York,  besides  engaging 
in  certain  theatrical  ventures  of  his  own.  He  is  at  present  a resident 
of  Philadelphia,  drawing  on  stone  in  the  Ledger  Building  there.  He 
is  an  occasional  contributor  to  the  exhibitions  of  the  American  Water- 
Color  Society,  sending,  in  1875,  “ The  Old  Home  Fading  away,”  of 


132  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


which  the  Art  Journal  of  March,  1875,  said,  “ The  picture  is  well 
composed,  and  is  excellent  in  drawing,  hut  the  color  is  cold  and 
crude.” 

Morin,  Francois-Gustave.  (Fr.)  Born  at  Eouen,  1809.  Chev- 
alier of  the  Legion  of  Honor.  Member  of  the  Academy  of  Rouen. 
His  “ Ariosto  reading  Fragments  of  his  Poem,”  and  other  works  of 
his,  are  in  the  Museum  of  Rouen.  “ Titian  preparing  his  Colors  ” is 
at  the  Museum  of  Havre.  Several  of  his  pictures  have  been  engraved 
by  Sixdeniers. 

Morot,  Aim^-Nicolaa.  (Fr.)  Bom  at  Nancy.  Prix  de  Rome, 
1873.  Medal  in  1877.  Pupil  of  CahaneL  At  the  Salon  of  1877  he 
e.xhibited  “ Medea”  and  a portrait  of  Mile.  d’Epinay ; at  that  of  1873, 
“ Daphnis  and  Chloe.” 

Morrell,  Imogene  Robinson.  (Am.)  A native  of  Attleborough, 
Mass.,  she  studied  art  in  Diisseldorf  under  Camphausen,  and  in  Paris 
under  Couture,  residing  in  Paris  for  some  years.  She  paints  por- 
trait, genre,  and  historical  pictures,  gaining  a medal  at  the  i\[echanics’ 
Fair,  Boston,  and  at  the  Exhibition  of  Philadelphia  in  1876.  Among 
her  more  important  works  are,  “ The  First  Battle  between  the  Puri- 
tans and  the  Indians,”  and  “ lYashington  and  his  Staff  welcoming  a 
Provision  Train  ” (both  at  the  Centennial),  “ David  before  Saul,”  and 
others.  Her  pictures  are  still  signed  by  her  maiden  name,  Imogene 
Robinson. 

“ In  the  painting  of  the  horses  Mrs.  Morrell  has  shonm  great  knowledge  of  their  action, 
and  the  finish  is  superb.  The  work  is  painted  with  great  strength  throughout,  and  its 
solidity  and  forcible  treatment  will  be  admired  by  all  who  take  an  interest  in  Revolution- 
ary history In  the  drawing  of  the  figures  of  Standish,  and  the  chief  at  his  side, 

and  the  dead  and  dying  savages,  there  is  a fine  display  of  artistic  power,  and  the  group- 
ing of  the  figures  is  masterly.  As  in  the  companion  picture,  the  utmost  care  has  been 
taken  in  the  finish,  and  the  painting  shows  a solidity  of  treatment  and  a mastery  of  a 
higher  standard  in  art  than  is  often  attained  by  a female  artist.  In  color  the  works  are 
exceedingly  brilliant”  — New  York  Evening  Post,  February  29,  1S76. 

Morris,  P.  R.,  A.  R.  A.  (Brit.)  Born  in  1836.  For  two  years  he 
studied  in  the  British  iluseum,  chiefly  the  Elgin  marbles,  entering  the 
Royal  Academy  in  1855.  The  same  year  he  won  the  silver  medal  of 
the  Royal  Academy  for  best  drawing  from  life  ; in  1856  he  received 
two  medals ; in  1858  he  won  the  gold  medal  for  the  best  historical 
painting,  “ The  Good  Samaritan,”  and  won  also  the  traveling  student- 
ship, spending  some  time  in  Italy  and  France.  He  first  exhibited  at 
the  Royal  Academy,  in  1858,  “ Peaceful  Days,”  a picture  purchased 
by  T.  R.  Creswick,  R.  A.  To  the  Gallery  of  the  British  Institute, 
in  1860,  he  sent  the  “Widow’s  Harvest”;  in  1864,  “ Where  they 
Crucified  Him”;  in  1865,  “The  Battle  Scar.”  His  “Voices  from 
the  Sea”  U'as  at  the  Royal  Academy  in  1860  ; “ Captives’  Return,”  in 
1861  ; “ Jesu  Salvator,”  in  1865  ; “Riven  Shield,”  in  1866;  “Drift 
Wreck  from  the  Armada,”  in  1867  ; “Ambuscade,”  in  1869  ; “The 
Summit  of  Calvary,”  in  1871;  “Highland  Pastoral,”  in  1872; 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  133 


“ Wliereon  he  Died,”  in  1873  ; “ Through  the  Dell,”  in  1374 ; in 
1875,  “The  Mowers”  ; in  1876,  “ The  Sailor’s  Wedding”  ; in  1877, 
“The  Heir  of  the  Manor”  and  “The  Lost  Heir”;  in  1878,  when 
he  was  elected  Associate  of  the  Royal  Academy,  he  contributed 
“The  First  Communion”  and  “The  Tomb.”  His  “Shadow  of  the 
Cross,”  never  exhibited,  belongs  to  the  Baroness  Burdett-Coutts.  “ The 
Mowers,”  “The  Reaper  and  the  Flowers,”  and  “The  Sailor’s  Wed- 
ding ” were  at  the  Paris  Exposition  of  1878. 

“Mr.  Morris  has  taken  the  suggestions  for  the  grace  that  is  in  tliis  picture  [‘  End  of 
the  Journey,’  R.  A.,  1874]  from  a simple  and  earnest  style  of  real  life,  and  the  effect  he 
gains  could  be  got  only  by  close  and  long  observation  of  figures  and  landscape  seen  to- 
gether. Thus  we  have  no  touch  of  the  artificial  pose  and  conscious  elegance  of  the  pro- 
fessed model In  the  execution  of  the  landscape  we  note  what  seems  to  us  to  be 

the  most  defective  work  of  the  picture.  The  treatment  of  twilight  wants  subtlety  and 
depth  ; passages  of  color  here  and  there  help  to  give  a crude  effect  to  the  whole  design. 
Nevertheless,  few  works  of  more  delicate  and  tender  sentiment  are  in  the  Exhibition,”  — 
Art  Journal,  July,  1874. 

Morse,  Samuel  F.  B.,  N.  A.  (Am.)  Born  in  Charlestown,  Mass. 
(1791  - 1872).  Graduated  at  Yale  College,  1810.  Went  to  England 
the  following  year  with  Washington  Allston,  whose  pupil  he  was, 
studying  also  under  Benjamin  West.  He  executed  a model  of  a Dy- 
ing Hercules,  for  which  he  received  a gold  medal  from  the  Adelphi 
Society  of  Arts.  In  1829  he  made  a second  voyage  to  Europe  for  the 
purpose  of  completing  his  art  studies.  He  was  one  of  the  founders 
of  the  New  York  Academy  of  Design  in  1826,  and  its  second  presi- 
dent, holding  the  office  from  1829  to  ’45.  At  one  time  he  was  lec- 
turer on  the  Fine  Arts  at  the  New  York  Athenaeum.  As  a painter, 
he  was  not  very  successful,  and  abandoned  art  as  a profession  in 
1839.  Such  of  his  pictures  as  still  exist  are  prized  rather  as  the  work 
of  Morse,  the  inventor  of  the  Electric  Telegraph,  than  on  account  of 
any  particular  artistic  merit  of  their  own.  His  “ House  of  Represen- 
tatives in  Washington  in  1823,”  belonging  to  Joseph  Ripley,  was  at 
the  National  Academy  in  1869. 

Morse,  Henry  D.  (Am.)  Born  in  Boston,  1826,  where  he  has  since 
lived.  He  had  no  instruction  in  art,  and  cannot  be  considered  a pro- 
fessional artist.  StiU,  in  his  leisure  hours  for  many  years  he  has 
painted  pictures,  generally  of  animals  and  game,  which  have  met  with 
a ready  sale  in  Boston,  and  are  very  highly  regarded.  He  is  a mem- 
ber of  the  Boston  Art  Club. 

Mortemart-Boisse,  Baron  Enguerrand  de.  (Fr.)  Born  at 
Paris.  Medal  in  1876.  Pupil  of  A.  Johannot  and  T.  Johannot.  At 
the  Salon  of  1876  he  exhibited  “ The  Bed  of  an  Alpine  Torrent  near 
Nice,”  and  in  1878,  “ An  Oil  Mill  near  Nice.” 

Moser,  Karl  Adalbert.  (Ger.)  Born  at  Berlin,  1832.  Medal 
at  Berlin,  1854.  Pupil  of  the  Berlin  Academy.  Visited  France  and 
Italy.  He  has  executed  decorations  for  various  government  buildings, 
reliefs  for  the  Beuth  monument,  and  the  groups  on  the  Belle-Alliance- 


134  ARTISTS  OF  TUE  NINETEENTH  CENTURY. 


Platze.  At  the  National  Gallery,  Berlin,  is  his  figure  called  “ Kunst- 
technik.” 

Moss,  Ella  A.  {Am.)  Born  in  New  Orleans,  1844.  Went  to 
Europe  at  an  early  age,  became  a pupil  of  the  Diisseldorf  schools  un- 
der Professor  Sohn,  and  spent  many  years  in  the  study  and  practice 
of  her  profession  in  Belgium  and  Germany.  She  returned  to  the 
United  States  in  the  winter  of  1877  - 78,  opening  a studio  in  New 
York.  Among  her  portraits  are  those  of  many  distinguished  people 
in  Europe  and  America.  She  exhibited  a portrait  of  Rev.  Dr.  Mor- 
gan at  the  National  Academy  in  1878. 

Mouchot,  Louis.  {Fr.)  Born  at  Paris.  Chevalier  of  the  Legion 
of  Honor.  Pupil  of  Drolling  and  Belloc.  At  the  Salon  of  1877  he 
exhibited  “A  Dahabieh  on  the  Nile”  ; in  1876,  “ The  Ducal  Palace 
at  Venice  ” and  “ The  Grand  Canal  ” ; in  1875,  “ A Shop  at  Cairo  ” 
and  “The  Shadoof”;  in  1874,  “ Evening  Prayer  ” ; and  in  1878, 
“ The  Grand  Canal,  Venice  ” and  “ A Street  in  Cairo.” 

Moulin,  Hippolyte.  {Fr.)  Born  at  Paris.  Medals  in  1864,  ’67, 
and  ’69.  Pupil  of  Barye.  Exhibited  at  Philadelphia  “ The  Secret  ” 
and  “ A Discovery  at  Pompeii,”  both  in  bronze,  for  which  he  received 
a inedaL  At  the  Paris  Salon  in  1877  he  exhibited  “ Gallia  Nostra,” 
statue,  plaster,  which  was  praised  by  Proth  in  his  “ Voyage  au  Pays 
des  Peintres  ” for  that  year.  “A  Discovery  at  Pompeii”  (1864)  is  at 
the  Luxembourg.  To  the  Salon  of  1878  he  sent  a portrait  of  M.  Du- 
quesne. 

Mount,  Shepard,  A.  N.  A.  {Am.)  (1804-1868.)  Painter  of 
portraits  and  game  pictures.  Elected  an  Associate  of  the  National 
Academy  in  1831,  and  Academician  in  1842.  Among  his  works,  ex- 
hibited in  different  seasons,  may  be  named  his  portrait  of  Admiral 
Bailey,  U.  S.  N.  ; portrait  of  himself,  painted  in  1833,  and  now  in 
the  possession  of  the  N.ational  Academy  ; and  “ Quail,”  “ Brook 
Trout,”  “ Shell-Fish,”  “ Wood-Robin,”  “ Flowers,”  etc. 

Mount,  William  S.,  N.  A.  {Am.)  (1806-1868.)  Native  of 
Long  Island.  Began  the  practice  of  his  profession  as  an  artist  in  New 
York  in  1829.  In  1832  he  was  elected  member  of  the  National 
Academy.  His  first  picture  was  “ The  Daughter  of  Jairus,”  but  he 
early  turned  his  attention  to  the  representation  of  tlie  negro  character, 
in  which  he  was  very  successful  in  a quaintly  humorous  way.  Dur- 
ing the  later  years  of  his  life  his  pictures  were  rarely  exhibited  in 
public.  He  sent  to  the  National  Academy  of  1868,  “ A Portrait  of 
a Lady  ” (belonging  to  William  H.  V ickham)  and  “ The  Dawn  of 
Day.”  He  died  before  the  opening  of  the  Exhibition.  The  next  year 
was  seen  in  the  same  gallery  his  “ Peach  Blossoms  ” (belonging  to 
J.  M.  Falconer).  His  “ Turning  the  Grindstone  ” and  “ Farmer’s 
Nooning”  were  the  property  of  Jonathan  Sturges.  “ The  Turn  of  tlie 
Leaf”  is  in  the  collection  of  James  Lenox,  “Bargaining  for  a Horse” 
is  in  the  New  York  Historical  Society,  and  “ Raffling  for  a Goose  ” 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  135 


(which  has  been  engraved,  and  was  very  popular  in  its  day)  belongs 
to  M.  0.  Roberts. 

“Very  expressive  and  clever  are  Mount’s  happy  delineations  of  the  arch,  quaint,  gay, 
and  rustic  humors  seen  among  the  primitive  i)eoi>le  of  his  native  place  ; tiiey  are  truly 
American.”  — Tuckerman's  Book  of  the  Artists. 

Mozier,  Joseph.  (Am.)  Born  in  Burlington,  Vt.  (1812- 1870). 
Was  originall}’  a merchant  in  New  York.  Having  decided  artistic 
tastes  and  talents,  he  went  to  Europe  in  1845,  opening  a studio  in 
Rome,  and  remaining  there  until  his  death.  Among  the  better  known 
of  his  sculptures  are,  “ Pocahontas,”  “ Wept  of  the  W ish-tou-Wish,” 
“Rizpah,”  “Rebecca  at  the  Well,”  “Jephthah’s  Daughter,’’  “White 
Lady  of  Avenel,”  “ Undine,”  “ Queen  Esther,”  and  “ Truth  ” and 
“Silence”  (the  last  two  belonging  to  the  Astor  Library,  New  York). 
His  “ Prodigal  Son”  is  in.  the  Philadelphia  Academy  of  Fine  Arts. 

“There  is  mucli  pathos  in  tliis  coniiiosition  [*  The  Prodigal  Son'],  which  appeals  with 
directness  and  force  to  tiie  hearts  of  those  who  pause  in  their  rambles  tlirough  the  gal- 
lery to  gaze  on  it.  The  benignity  and  fatherly  tenderness  of  the  old  man  are  expressed 
in  a language  tliat  all  may  read,  and  that  requires  no  explanation  or  commentary."  — 
Great  American  Sculptors. 

M'Taggart,  William.  (Brit.)  Born  in  Campbeltown.  He  re- 
ceived his  art  education  in  the  Trustees  Academy,  Edinburgh,  enter- 
ing that  institution  in  1852,  and  spending  his  professional  life  in  that 
city.  His  specialty  is  the  painting  of  child-life.  He  was  elected  an 
Associate  of  the  Royal  Scottish  Academy  in  1859,  and  Academician 
in  1870.  Among  his  pictures  are,  “ Love  lightens  Labor,”  “ The 
Young  Travelers,”  “ Followers  of  the  Fine  Arts,”  “ An  Old  Salt,” 
and  at  the  Royal  Scottish  Academy  in  1870,  “ The  Fisher’s  Landing,” 
“A  Day  on  the  Seashore,”  “ Gathering  Drift,”  etc. 

“ Although  M'Taggart  is  unequal,  there  is  always  a fresh  geniality  about  him  that 
commends  his  pictures  ; he  takes  firm  hold  of  his  subject,  yet  occasionally  disregards 
finish.  His  ' At  the  Fair ' has  less  of  this  defect ; the  girls  examining  the  photograpli 
have  each  her  own  idea,  and  all  is  natural.  'A  Sea-Bird, ' where  children  stretched  at 
ease  on  the  sandy  gorse  are  eagerly  examining  the  wings  of  a water-fowl,  lias  a fine  shim- 
mering motion  of  the  sea  which  forms  the  background.”  — Art  Journal,  April,  1S74. 

Miicke,  Heinrich  Karl  Anton.  (Ger.)  Born  at  Breslau,  1806. 
Medal  at  Besangon,  and  a great  medal  from  Portugal.  Professor  at 
the  Diisseldorf  Academy,  where  he  had  studied.  He  traveled  in  Italy 
and  painted  historical  and  religious  subjects.  At  the  National  Gal- 
lery, Berlin,  are  “ St.  Catherine  of  Ale.xandria  ” and  “ St.  Elisa- 
beth of  Hungary.”  He  made  himself  known  as  a fresco-painter  by 
his  work  at  the  castle  of  Heltorf,  and  in  the  Council-Chamber  of 
Elberfeld.  Some  of  his  pictures  are  well  known  by  the  engravings 
from  them,  especially  that  of  “ St.  Catherine  borne  to  Heaven  by 
Angels.” 

Mullar,  Charles-Louis.  (Fr.)  Born  at  Paris,  1815.  Member  of 
the  Institute.  Officer  of  the  Legion  of  Honor.  Pupil  of  Gros  and 
Cegniet.  This  artist  is  so  well  known  by  his  picture  of  the  “ Roll- 


]36  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Call  of  the  Last  Victims  of  the  Reign  of  Terror,’’  that  his  other  works 
have  made  but  a comparatively  small  impression.  This  immense 
work  (at  the  Luxembourg)  contains  many  figures  and  seventeen  ac- 
knowledged portraits.  A copy  or  sketch  of  it  (51  by  94)  was  sold 
at  the  Johnston  sale,  1876,  for  $8,200.  iluller  has  painted  many 
portraits,  and  among  his  other  subjects  are,  “ Thomas  Diafoirus  ” and 
“ Mater  Dolorosa  ” (1877),  “Death  of  a Gitano  ” (1876),  “Madness 
of  King  Lear,”  “ The  Waiting,”  and  “One  Moment  Alone  ” (1875), 
“ Lanjuinais  at  the  Tribune,  June  2,  1793  ” (1869),  “ Desdemona  ” 
and  “ A Scholar”  (1868),  etc.  His  picture  of  “ Charlotte  Cordaj’  in 
Prison”  (1875)  is  in  the  Corcoran  Gallery,  Washington.  This  work 
was  never  exhibited  in  any  other  place.  To  the  Salon  of  1878  he 
contributed  “ Give  us  Barabbas  ! ” and  a portrait. 

“Muller’s  great  picture  of  the  ‘Call  of  the  Condemned ’ of  the  Reign  of  Terror  is 
perhaps  the  best  composed  historical  painting  of  our  time.  None  that  I know  better 
fultills  the  requirements  of  this  branch  of  art,  as  a realistic  narrative.  It  carries  the 
spectator  directly  into  the  scene  as  it  must  have  appeared  on  that  morning  when  the 
last  of  Robespierre’s  victims  were  wantonly  hurried  to  the  guillotine.  JIuller  drags  it 
bodily  out  of  the  past,  and  puts  it  before  our  ejos  in  its  precise  truth,  without  dramatic 
exaggeration,  or  attempt  to  heighten  anguish  and  despair  sufficiently  intense  in  their 
own  naked  reality.  It  is  a conscientiously  told  tale.  The  officials,  at  whose  action  we 
are  aghast,  are  justly  treated  ; made  men  doing  a stem  duty,  not  ensanguined  monsters. 
There  are  fifty  masterly  pictures,  each  a pathetic  tale  by  itself ; every  separate  group 
and  individual  action  diversified  in  emotion,  but  filling  its  place  with  appropriate  feel- 
ing in  the  harmonious  whole  ; all  subdued  to  an  appropriate  key  of  light,  in  fine  grada- 
tion, centered  outside  the  prison-door,  where  waits  the  cart  which  is  fast  filling  with  its 
dismal  load.  There  is  no  attempt  at  an  imaginative  treatment,  as  in  Couture’s  picture, 
but  in  place  of  it  a picturesque  rendering  of  the  spectacle,  based  upon  a thorough  study 
of  incidents,  costumes,  persons,  and  locality,  with  copious  variety  of  action  and  ex- 
jmession.  It  is  devoid  of  academic  artificiality  on  the  one  hand,  and  of  the  other 
extreme  of  conventional  idealism  on  the  other.  Sincerity  and  symjiathy  are  joined  to 
unquestioned  skill  and  rare  talent  in  composition.  Delacroix,  by  his  grand  manner, 
writes  his  autograph  all  over  his  work,  and  we  are  led  to  think  as  much  of  the  artist  as 
his  subject.  Poussin,  Ingres,  and  like  men  represent  systems  or  theories,  and  provoke 
comparisons.  Delaroche  excites  the  sentiments  by  his  poetical  sense,  but  his  defective 
style  of  painting  detracts  from  the  enjoyment.  Even  the  Couture  which  hangs  opposite 
recalls  the  studio  overmuch  as  a composition,  besides  being  simtty  in  high  lights,  and 
securing  brilliancy  at  such  sacrifice  of  unity  of  tone  and  color  as  to  make  it  border  on 
the  sensational  in  general  effect  Muller  attempts  nothing  that  he  cannot  do  thoroughly 
well,  and  in  a quiet,  trath-telling  manner.  His  system  gives  all  to  art,  regardless  of 
exhibiting  the  artist.  The  painting  is  not  the  highest  effort,  but  it  is  a success  in  high 
art  complete  in  its  way.  Muller  paints  histoi-y  as  Motley  writes  it,  picturesquely,  ai.d 
with  insight  into  its  emotions.”  — Jakves,  Art  Thoughts. 

Miiller,  CarL  (Gcr.)  Born  at  Darmstadt,  1818.  Professor  at  the 
Academy  of  Dtisseldorf.  Pupil  of  his  father,  and  of  the  Academy  of 
Diisseldorf  under  Professor  Sohn.  He  visited  Italy,  and  when  forty 
years  old  was  Professor  in  the  Academy  where  he  had  studied.  His 
jiictures  are  numerous.  His  “Annunciation,”  in  the  Gallery  of  Diis- 
seldorf,  is  well  known  by  an  engraving.  His  most  important  frescos, 
which  are  in  the  church  of  Saint  Apollinarius  at  Remagen,  are  de- 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  137 


servedly  much  admired.  He  sent  to  Paris,  in  1855,  “ The  Last  Sup- 
per,” “ The  Virgin  and  Child,”  and  “ The  Annunciation,”  before  men- 
tioned ; and  to  the  Salon  of  1853,  “ The  Holy  Family.”  At  the  Lon- 
don Royal  Academy  in  1876  he  e.xhibited  “ The  Virgin 'and  Child 
before  a Grotto”  and  “The  Virgin,  Infant  Christ,  and  St.  Joseph 
with  an  Angel.” 

Muller,  Victor.  (Ger.)  Born  at  Frankfort  (1829- 1871).  Pupil 
of  the  Staedel  Institute  ; studied  also  at  the  Antwerp  Academy,  from 
which  place  he  went  to  Paris  with  a young  colony  of  German  and 
Dutch  artists,  where  he  remained  for  some  years  and  was  in  the  atelier 
of  Couture.  He  lived  awhile  at  Frankfort,  and  settled  in  Munich  in 
1864.  His  “Hamlet  in  the  Churchyard,”  painted  in  1869,  and  ex- 
hibited at  Munich,  first  gave  him  a reputation.  In  the  “ Zeitschrift  fiir 
bildende  Kunst,”  a writer  of  his  obituary  says,  “ No  one  has  more 
truly  comprehended  and  depicted  the  inner  spirit  of  this  Prince  of 
our  first  tragedy.”  Among  his  works  are,  “ The  Muses  and  Graces,” 
a decorative  work  in  Frankfort,  “ Hero  and  Leander,”  “ Bestraften 
Ehebruch,”  and  several  portraits. 

Mulready,  William,  R.  A.  (Brit.)  Born  in  Ireland  (1786- 1863). 
Entered  the  schools  of  the  Royal  Academy  in  1800.  He  first  ex- 
hibited, in  1806,  “A  Cottage”;  in  1811,  “The  Roadside  Inn”  ; in 
1813,  “Punch”;  in  1815  (when  he  was  elected  Associate  of  the 
Royal  Academy),  “ Idle  Boys.”  He  was  made  Academician  in  1816. 
Among  his  earlier  works  are,  “ The  Wolf  and  the  Lamb,”  and  “ An 
Interior  of  an  English  Cottage  ” (which  belonged  to  George  IV.)  ; 
“ The  Convalescent  ” ; “ The  Cousin  ” ; “ The  First  Voyage  ” ; “ Lend- 
ing a Bite  ” ; “ Blackheath  Park  ” ; “ The  Fight  Interrupted  ” ; 
“The  Barber’s  Shop”  and  “Fair  Time”  (1809);  “The  Last  Inn” 
(1835);  “Crossing  the  Ford  ” (1842)  ; and  “The  Young  Brother” 
(1857),  which  belonged  to  the  Vernon  Collection,  and  is  now  in  the 
National  Gallery,  London.  After  his  death  a collection  of  his  works 
was  on  exhibition  for  some  time  at  the  South  Kensington  Aluseum, 
attracting  great  attention  in  London.  Some  of  his  drawings  were 
sold  at  auction  about  the  .same  time,  bringing  enormous  prices.  His 
last  picture,  exhibited  at  the  Royal  Academy,  was  “ A Toy-Seller,”  in 
1862.  Many  of  his  works  have  been  engraved. 

“ Mulready’s  ‘ Sonnet  ’ has  been  very  justly  described  as  one  of  the  most  purely  and 

tenderly  poetical  of  English  pictures  from  common  life His  refinement  in  form. 

his  great  sense  of  beauty,  the  poetry  and  invention  of  his  subjects,  combine  to  give 
them  a peculiarly  strong  and  lasting  hold  over  the  memoiy  of  those  who  have  studied 
them.”  — Art  Journal,  May,  1876. 

“ Yet  Mulready  must  unhesitatingly  be  placed  among  the  few  really  eminent  and 
thorough  draughtsmen  of  the  British  school.  His  power  over  form  was  almost  com- 
ifiete,  although  not  so  wide  in  range  when  he  painted  ‘ The  Rattle  ’ in  1808,  as  when 
be  drew  ‘ The  Bathers  ’ in  1849.  His  refinement  is  not  less  marked  in  ‘ The  Gravel  Pit  ’ 

[1807]  than  in  ‘The  Toy-Seller’  of  1862 If  Mr.  Mulready’s  earliest  aim  in  his 

figure-subjects  was  humor,  in  his  latter  it  was  grace.  In  its  essential  purity  no  English 
painter  c.an,  we  think,  be  set  above  him.  Great  as  are  the  claims  of  Gainsborough,  Rey- 


138  ARTISTS  OF  TEE  NINETEENTE  CENTURY, 


Holds,  Stotliard,  and  Leslie,  none  of  tliem  equaled  Mulready  in  that  refined  accurarj 
which  has  been  noticed  as  his  primary  characteristic.'*  — Palgrave's  Essays  cm  Art. 

Mulvany,  George  F.  (Brit.')  Born  in  Dublin  (1809  - 1869).  Son 
of  Thomas  Mulvany,  who  was  the  first  keeper  of  the  Royal  Hiber- 
nian Academy,  and  a painter  of  some  repute  in  Ireland.  The  son 
evinced  a taste  for  art  at  an  early  age,  was  educated  in  Dublin,  studied 
in  Italy,  and  was  made  an  Associate  of  the  Royal  Hibernian  Acad- 
emy in  1832.  A few  years  later  he  was  elected  Academician,  and  on 
the  death  of  his  father,  in  1845,  he  succeeded  him  as  keeper.  He  was 
also  one  of  the  organizers,  and  as  long  as  he  lived  a director  of  the 
Irish  National  Academy.  He  exhibited  frequently  in  his  native  city, 
and  his  works  were  popular  elsewhere.  Among  his  pictures  may  be 
mentioned  “ First  Love,”  “ The  Peasant’s  Grave,”  “ The  White  Man 
cast  on  the  Red  Man’s  Shore,”  and  a popular  portrait  of  Thomas 
Moore,  which  has  been  frequently  engraved.  His  last  work,  a por- 
trait of  Father  Burke,  was  left  unfinished. 

Munkacsy,  Mihaly.  (Hungarian.)  Bom  at  ilunkacs.  Medals 
in  Paris  in  1870  and  ’74.  Pupil  of  Knaus.  At  the  Salon  of  1877  he 
exhibited  the  “ Story  of  a Hunt”  and  a portrait ; in  1876,  “The  In- 
terior of  a Studio”;  in  1875,  “The  Village  Hero,  Hungary”  ; in 
1874,  the  “ Mont-de-Piete  ” and  “The  Night  Prowlers.”  One  of  his 
finest  works  was  the  illustration  of  an  old  custom  in  Hungary  of  ex- 
posing a prisoner,  who  had  been  condemned,  to  the  public  for  several 
hours.  In  this  picture  the  different  expressions  of  those  who  have 
come  to  see  the  unfortunate  man  are  very  remarkable.  Three  of  his 
pictures  were  in  the  Paris  Exposition  of  1878. 

Munn,  George  F.  (Am.)  Born  in  Utica,  N.  Y.,  18-52.  First 
studied  art  under  Charles  Calverly  the  sculptor,  and  later  at  the 
schools  of  the  National  Academy,  New  York.  He  went  to  Europe  to 
enter  the  Art  Schools  at  South  Kensington,  where  he  received  a gold 
medal,  the  first  awarded  to  an  American,  for  a model  in  clay  of  the 
Farnese  Hercules.  In  the  schools  of  the  Royal  Academy  he  received 
a silver  medal  for  a life  drawing  ; and  he  was  subsequently  in  the 
studio  of  George  F.  Watts  in  1876.  He  has  painted  and  sketched  in 
Brittany,  and  has  exhibited  at  the  Dudley  Gallery,  London,  at  Bir- 
mingham, and  elsewhere.  Among  his  works  are,  “ Wild-Flowers,” 
“ Roses,”  “ Meadow-Sweet,”  “ A Sunny  Day,  Brittany,”  etc. 

**  A flower-picture  here  [Dudley  Gallery,  1875],  notable  for  the  absence  of  manufactur- 
ing deftness,  which  goes  so  far  to  neutralize  the  beauties  of  Fantin’s  work,  is  the  large 
and  most  careful  study  (wild-flowers,  meadow-sweet,  the  chief)  to  which  is  attached  a 
new  name,  G.  F.  Munn.  This  is  evidently  a labor  of  love,  full  of  the  most  minute  and 
loving  study,  such  as  a man  gives  who  finds  both  intense  pleasure  in  his  work  and  the 
subject  of  it,  such  labor  as  only  young  men  can  give,  for  only  they  arc  sustained  by  such 
keenness  and  freshness  of  delight.” — Tom  Taylor,  in  London  Graphic,  October,  1S75. 

Munro,  Alexander.  (Brit.)  Born  in  Scotland  (1825 -1871). 
Settled  ill  London  in  1848.  In  1849  he  exhibited  for  the  first  time 
at  the  Royal  Academy  several  portrait  bust.«.  His  first  ideal  work. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  139 


“ Paolo  and  Francesca,”  in  marble,  was  at  the  Royal  Academy  in 
1852,  and  was  purchased  by  Mr.  Gladstone.  His  “Hippocrates” 
(R.  A.,  1857)  was  presented  by  John  Ruskin  to  the  new  Museum  at 
Oxford.  Among  his  ideal  works  are,  “ Undine,”  “ The  Lover’s  Walk,” 
“ Joan  of  Arc,”  “ The  Young  Hunter,”  and  “ The  Sleeping  Boy.”  He 
executed  busts  of  Sir  Robert  Peel,  Gladstone,  and  J.  E.  Millais,  R.  A. ; 
a statue  of  “ Mary,  Consort  of  William  III.”  in  the  House  of  Parlia- 
ment, the  colossal  statue  of  James  Watt  at  Birmingham,  and  statues 
of  Galileo,  Davy,  and  Watt  at  Oxford. 

“ Though  all  his  works  show  talent  of  a high  order,  Mr.  Munro  especially  excels  in 
female  busts,  and  in  his  representation  of  children,  both  singly  and  in  groups.  In  all 
of  these  is  refined  and  delicate  sentiment,  a quality  which,  in  the  case  of  the  little  ones, 
is  often  allied  with  graceful  fancy.”  — Art  Journal,  March,  1871. 

Munzig,  G.  C.  (Am.)  Born  in  Boston,  1850.  He  has  spent  his 
professional  life  in  his  native  city.  As  an  artist  he  was  comparatively 
self-taught.  He  is  a member  of  the  Boston  Art  Club,  and  is  on  the 
Committee  on  Design  for  the  “ School  for  Art  Needlework”  connected 
with  the  Museum  of  Fine  Arts,  Boston.  His  specialty  is  portraits  in 
crayon.  Within  a few  years  he  has  turned  his  attention  somewhat  to 
oils.  He  has  exhibited  at  Philadelphia,  New  York,  Cleveland,  and 
Boston,  and  his  portraits  are  in  the  possession  of  Dr.  Oliver  Wen- 
dell Holmes,  Winthrop  Sargent,  Frederick  R.  Sears,  Henry  D.  Parker, 
George  Wheatland,  Eben  Jordan,  Mrs.  Oliver  Ames,  Mrs.  Oakes 
Ames,  Mrs.  D.  B.  Van  Brunt,  Miss  Harriet  W.  Preston,  Mr.  James 
Lawrence,  Mme.  Teresa  Careho,  the  late  Mnie.  Teresa  Tietjeiis,  Mme. 
RudersdorfF,  and  others. 

Murray,  Elizabeth.  (Brit.)  Member  of  the  Institute  of  Painters 
in  Water-Colors  of  London,  and  of  the  American  Society  of  Water- 
Color  Painters  in  New  York.  She  exhibited  at  the  Institute,  in  1878, 
“A  Moorish  Saint”  and  “ Music  in  Morocco”  ; in  1875,  “The  White 
Rose”;  in  1873,  “The  Greek  Betrothed”;  in  1872,  “The  Gypsy- 
Queen  ” ; etc.  At  the  National  Academy,  in  1875,  she  exhibited, 
“ Spanish  Lovers  lighting  Cigarettes”  (in  oils)  ; in  1871,  “ Dalmatian 
Peasant  ” ; in  1870,  “ The  Old  Story  in  Spain  ” (both  in  water-colors). 
“ The  Eleventh  Hour”  (in  water-colors)  brought  $260  at  the  John- 
ston sale  in  New  York  in  1876. 

Murray,  David.  (Brit.)  Born  in  Glasgow,  1849.  Brought  up  to 
mercantile  pursuits,  he  spent  his  early  youth  in  a warehouse  in  his 
native  city,  studying  art  in  his  leisure  hours,  but  not  adopting  painting 
as  a profession  until  within  a few  years.  His  studio  is  now  (1878)  in 
Glasgow.  To  the  Royal  Scottish  Academy,  in  1878,  he  sent  “On  the 
Towing-Path,  Thames,”  “The  Intruder,”  “A  Sleepy  Brook,”  “The 
English  Yeoman’s  Dwelling,”  etc. 

Musiu,  Francois.  (Belgian.)  Bom  at  Ostende.  Medal  at  Phil- 
adelphia, where  he  exhibited  “ Seashore  at  Scheveningen  ” and  the 
“Harbor  of  Rotterdam  in  Rainy  Weather.”  At  Paris,  in  1877,  was 
“ The  Dike  at  Ostende  in  Heavy  Weather.” 


140  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Mussini,  Cesare.  (Ital.)  Bom  at  Berlin,  1808.  He  early  fixed 
himself  in  Florence,  and  has  acquired  fame  in  his  peculiar  hianch  of 
painting.  His  drawing  is  always  correct,  and  his  color  excellent. 
Many  of  his  pictures  have  been  commissions  from  Russia.  Among 
his  works  are,  “ Leonardo  da  Vinci  dying  in  the  Arms  of  Francis  I.,” 
“ Tasso  reading  his  Poem  to  Eleonora  d’Este,”  “ Raphael  and  the 
Fornarina,”  the  “ Death  of  Atala,”  and  “ Stanislaus  Poniatowski  gi^ung 
Freedom  to  the  Poles.”  The  portrait  of  this  painter  is  in  the  auto- 
graph collection  of  the  Uffizi. 

Mussini,  Luigi.  (Hal.)  Born  at  Berlin,  1813.  Pupil  of  his 
brother  Cesare.  Director  of  the  Academy  of  Siena.  His  first  work, 
“ Sacred  Music,”  proved  him  to  have  unusual  merit.  In  correctness 
of  drawing  he  is  unsurpassed,  and  his  compositions  are  simple  and 
truthful.  They  suggest  the  works  of  the  cinque-cento  painters.  Among 
his  works  are,  “ Eudoro  and  Cimodocea  ” (in  the  gaUeiy  of  modem 
paintings  in  Florence),  the  “Christian  MartjT”  (in  the  Cathedral  of 
Siena),  “ The  Money-Changers  in  the  Temple,”  the  “ Last  Day  of 
Nero,”  the  “ Triumph  of  Truth,”  etc.  Sig.  Luigi  Mussini  is  considered 
one  of  the  best  painters  in  Italy,  and  is  at  the  head  of  his  school. 
Since  he  has  presided  over  the  Academy  of  Siena,  many  fine  artists 
have  graduated  there.  His  portrait  is  in  the  autograph  collection  in 
the  Uffizi.  To  the  Paris  Salon,  in  1878,  he  sent  “ Page  siennois  de  la 
Tortue,  — XV'  siecle.” 

Mutrie,  Martha  D.  and  Annie  F.  {Brit.)  Natives  of  Man- 
chester. Settled  in  London  in  1854,  exhibiting  annually  at  the 
Royal  Academy  flower-pieces,  the  works  of  both  sisters  being  very 
popular.  Miss  Mutrie  sent  to  the  Royal  Academy,  in  1860,  “Fungus”; 
in  1861,  “Wild  Roses”;  in  1864,  “Garden  ITowers  ” ; in  1868, 
“Roses”;  in  1872,  “In  the  Flower-Market”  ; in  1875,  “ The  Cottage 
Window”  ; in  1877,  “ Spring  Flowers.” 

Miss  Annie  F.  Mutrie  exhibited,  in  1860,  “ Where  the  Bee  Sucks  ” ; 
in  1861,  “York  and  Lancaster”;  in  1863,  “Autumn”;  in  1871, 
“The  Balcony”  ; in  1874,  “ My  First  Bouquet”;  in  1875,  “Farewell, 
Summer”;  in  1876,  “The  Evening  Primrose”;  in  1877,  “Wild- 
Flowers  of  South  America.” 

Both  of  these  ladies  were  “ commended  for  great  merit  in  genre  paint- 
ing” by  the  judges  at  the  Centennial  Exhibition  in  Phikdeljffiia  in 
1876. 

**  These  ladies  rank  as  excellent  fmit  and  flower  painters.  A fault  has  been  found 
with  their  subjects  that  they  are  too  often  cultivated  flowers,  and  that  whether  garden 
or  wild  flowers  they  are  apt  to  be  aiTanged  arbitrarily  and  artiflcially."  — Sins.  Tytler’s 
Modern  Painters. 

“Miss  M.  D.  Mutrie’s  ‘In  the  C?ottage  ■Window'[R.  A..  1875],  a beautiful  study  of 
flowers,  is  oue  of  the  brightest  and  most  truthful  little  studies  from  Nature  in  this  year's 
Exhibition.”  — Art  Journal , July,  1875. 

M'Whirter,  John.  {Bril.)  Bom  near  Edinburgh,  1839.  He 
studied  under  Robert  Scott  Lauder,  and  practiced  his  profession  in 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  141 


Edinburgb,  until  1869,  when  he  opened  a studio  in  London.  He 
devotes  himself  to  landscape-painting,  selecting  his  scenes  frequently 
in  the  Highhuids  of  the  West  of  Scotland.  He  exhibits  at  the  Royal 
Academy  and  at  the  Royal  Scottish  Academy,  of  which  hitter  insti- 
tution he  is  an  Associate  Member.  Among  his  works  are,  “ The  Mail 
from  the  North,”  “Glencoe,”  “The  Falls  of  Tummell”;  etc.  To  the 
Royal  Scottish  Academy,  in  1878,  he  sent  “Thunder-Storm  on  the 
Prairie”  and  “Salt  Lake  City,  Utah”;  to  the  Royal  Academy,  the 
same  year,  “The  Three  Graces  ” and  “ The  Vanguard.”  His  “ Into 
the  Depths  of  the  Forest,”  “ Out  in  the  Cold  ” and  “A  Fisherman’s 
Haven  ” were  at  the  Paris  ExjDosition  of  1878. 

Naftel,  Paul  J.  {Brit.)  English  water-color  artist,  for  some 
years  a resident  of  Guernsey,  at  present  living  in  London.  He  is  a 
member  of  the  Society  of  Painters  in  Water-Colors,  sending  annually 
from  ten  to  fifteen  pictures  to  its  exhibitions  ; among  others,  “ Near 
the  Grange,  Borrowdale,  Cumberland,”  “ Morning  at  Penllergare, 
South  Wales,”  “ Seaweed-Gathering,  Guernsey,”  “ Capri,  from  the 
Pine  Valley,  Sorrento,”  “ First  Snow  on  Blockmount,”  “ The  Mole 
near  Twickenham,”  “ Killarney,  Ireland,”  etc.  His  “ Violet-Gather- 
ing at  Bordighera  in  December”  and  “Near  Lismoi’e,  County  Wateiv 
ford”  were  at  the  Grosvenor  Gallery  in  1878.  To  the  Paris  Exposi- 
tion, the  same  year,  he  contributed  “ Views  of  the  Isle  of  Arran  and 
of  Killarney.” 

Naish,  John  George.  {Brit.)  Born  in  Sussex,  1824.  Entered 
the  Royal  Academy  in  1846,  exhibiting  the  same  year  his  first  picture, 
entitled  “ Troops  departing  for  India.”  In  1850  he  went  to  the  Con.- 
tinent,  studying  and  working  in  the  galleries  of  the  Louvre,  Paris, 
in  Bruges,  Antwerp,  and  elsewhere,  returning  to  England  the  next 
year.  Among  his  earlier  works  are,  “Water-Nymphs”  and  “ Hymn 
to  the  Rising  Sun,”  in  1849  ; “Mermaids”  and  “ Titania,”  in  1850  ; 
“ The  Power  of  Music,”  in  1854  ; “ Fairies  Returning  ” and  “ The 
Swoon  of  Endymion,”  in  1855;  “ Midsummer  Fairies,”  in  1856  (exhib- 
ited both  at  the  Ro}^!  Academy  and  the  British  Institution);  “ Influ- 
ence of  the  Soul,”  in  1858  ; “ Ode  to  the  Northeast  Wind,”  in  1860  ; 
“ Rough  Hands  and  Warm  Hearts  ” and  “The  Last  Tack  Home,”  in 
1864  ; and  “ Better  than  Gold,”  in  1865.  About  1860  he  altered  the 
style  of  his  paintings,  leaving  the  ideal  and  classical  figures  for  marine 
subjects.  In  1867  he  sent  to  the  Royal  Academy,  “ The  Mouth  of  the 
Harbor”;  in  1870,  “Enoch  Arden”;  in  1871,  “A  North  Devon 
Cove”;  in  1873,  “The  most  Northerly  Point  of  Devon”;  in  1874, 
“Homeward  Bound”;  in  1876,  “The  Night-Catch,  — on  Board  a 
Traveler  in  Barnstaple  Bay”;  in  1877,  “Life-Boat  returning,  — a Sea 
to  Starboard  ” ; in  1878,  “ A Summer  Sea  ” and  “ The  Devonshire 
Trawlers.” 

“ A grizzled  sailor  and  his  son  are  liere  seen  picturesquely  sheltered  beneath  the 
of  their  boat,  and  looking  with  fixed,  eager  eyes  on  the  scattered  roofs  of  the 


142  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


famous  village  of  Clovely  Last  Tack  Home,*  R.  A.,  1S64].  Evcrj'tliing  is  drawn  with 
that  conscientious  fidelity  to  which  Mr.  Naish  has  accustomed  us  in  his  work,  wliile  he 
lias  given  it  greater  interest  by  his  introduction  of  the  Imiuaii  figure.*’  — Palcrave’s 
Essays  on  Art. 

Certainly  there  was  no  truer  or  finer  combination  of  land  and  ocean  among  the  pic- 
tures of  that  year  than  tlie  view  of  the  town  [‘  Ilfracombe,*  R.  A.,  1S70],  in  which  the 
jiainter  had  been  a resident  for  some  time.  It  afterwards  gained  a gold  medal  at  the 
Crystal  Palace Naish  disdains  to  make  any  compromise  witli  Nature  ; he  repre- 

sents her  as  she  appears  to  his  eye,  but  with  something  more  than  mere  typographical 
accuracy,  for  to  this  quality  must  be  added,  as  a general  rule,  poetic  feeling,  adapting  it- 
self to  the  circumsttinces  of  the  subject,  and  oiiginality  of  treatment As  a color- 

ist, moreover,  Mr.  Naish  distinguislies  himself.”  — Art  Journal,  November,  1S75. 

Nakken,  W.  C.  {Dutch.)  Of  The  Hague.  Medal  at  Philadel- 
phia, where  he  exhibited  ‘•Haymaking  in  Normandy.”  Mr.  Weir 
especially  commends  this  picture  in  his  report.  At  the  Paris  Expo- 
sition, 1878,  he  exhibited  “ Etalon  Normand”  and  “The  Stable  of 
the  Inn.” 

Nanteuil,  Celestin.  (Fr.)  Born  at  Rome,  of  French  parents 
(1813-1873).  Chevalier  of  the  Legion  of  Honor.  His  family  re- 
moved to  Paris  when  he  was  still  an  infant.  He  studied  under  Lang- 
lois  and  Ingres,  and  then,  in  1827,  entered  I’Lcole  des  Beaux-Arts, 
where  he  became  a sort  of  captain  among  some  turbulent  students. 
When  a revolt  occurred  Nanteuil  was  expelled  from  tlie  school,  which 
made  him  a hero  with  a class,  and  he  became  known  as  one  of  the 
leaders  of  the  reformers  of  art,  as  they  were  called.  For  some  years 
he  was  employed  in  etching  for  romantic  literature.  In  1848  he  first 
sent  to  the  Salon  a work  worthy  of  notice,  “ A Ray  of  Sunshine,” 
which  was  much  admired.  He  devoted  himself  to  genre  subjects, 
and  exhibited  each  year.  His  “Souvenirs  of  the  Past”  and  “The 
Future  ” are  well  known  from  lithographs  by  himself.  Nanteuil  exe- 
cuted many  jdates  for  artistic  publications.  He  traveled  much  and 
made  numerous  sketches.  In  1870  he  was  placed  at  the  head  of  the 
School  of  Design  at  Dijon,  and  appointed  Conservator  of  the  Mu- 
seum of  that  city.  Since  his  death  two  of  his  water-colors,  “ Hunting- 
Dogs  in  Repose  ” and  “ The  Fawn,”  have  been  placed  in  the  Luxem- 
bourg. 

Nash,  Joseph.  (Brit.)  Born  about  1812.  An  artist  in  water- 
colors,  making  as  his  specialty  architectural  views  and  antique  ex- 
teriors and  interiors,  Engli.sh  and  Continental.  He  first  exhibited  in 
public  in  1835.  Among  the  better  known  of  his  e:irly  drawings  are, 
“ The  Queen’s  Vi.sit  to  Lincoln’s  Inn  Hall,”  in  1846  ; “ The  Interior 
of  the  Crystal  Palace,”  in  1851  ; “Rochester,”  “Roman  Cathedral,” 
“ Charles  V.  visiting  Francis  1.  during  his  Confinement,”  in  1855  ; 
“ Chapel  of  .Edward  the  Confessor  at  Westminster,”  in  1866  ; “ Red 
Room  of  Louis  Philippe  at  Claremont,”  in  1867  ; “ The  Brown  Gal- 
lery, Knole,  Kent,”  in  1872  ; “ A Dinner-Party  under  the  early 
Plantagenets  ” and  “The  Thumb  Stocks,”  in  1873. 

He  has  been  for  some  time  a member  of  the  Society  of  Painters  in 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  143 


"Water-Colors.  In  1838  lie  published  a volume  entitled  “Archi- 
tecture in  the  Middle  Ages,”  with  lithographic  illustrations,  and  a 
few  yeais  later,  in  four  series,  “ The  Mansions  of  England  in  the 
Olden  Time.”  He  has  also  furnished  illustrations  for  the"  works  of 
Shakspere,  Scott,  and  other  standard  authors. 

Nast,  Thomas.  (Am.)  Born  in  Landau,  Bavaria,  1840.  Taken 
to  America  in  1846.  Early  displayed  artistic  talents,  but,  with  the 
exception  of  a few  months’  tuition  under  Kaufmann,  is  entirely  self- 
taught.  He  began  his  professional  career  as  a draughtsman  for  il- 
lustrated journals  as  early  as  1855.  In  1860  he  went  to  Europe, 
followed  the  army  of  Garibaldi,  sending  sketches  to  London  and 
American  pictorial  papers  ; returned  to  America  in  1862,  and  during 
the  American  Civdl  War  sent  many  graphic  drawings  of  war  scenes  to 
the  Harpers’  ijeriodicals,  attracting  gi-eat  attention  on  both  sides  of  the 
Atlantic.  He  did  not  develop  into  a caricaturist  until  the  close  of  the 
war,  his  later  work  being  chiefly  in  that  direction.  Although  not  a 
member  of  any  academy  or  society  of  the  country,  he  is  an  occasional 
contributor  to  the  public  exhibitions  in  New  York  and  elsewhere, 
sending  to  the  National  Academy,  in  1868,  “The  Last  Drop”  ; in 
1870,  “ The  Departure  of  the  Seventh  Regiment,”  belonging  to  James 
H.  Ingersoll. 

“Judging  from  wood-cuts  in  Ilarper’s  Weekly  of  compositions  relating  to  the  various 
stages  of  the  war,  Nast  is  an  artist  of  uncommon  ability.  He  has  comi)Osed  designs,  or 
rather  given  hints  of  his  ability  to  do  so,  of  allegorical,  symbolical,  or  illustrative  char- 
acter, far  more  worthy  to  be  transferred  in  paint  to  the  walls  of  our  public  buildings 
than  anything  that  has  as  yet  been  placed  on  them.  Although  hastily  got  up  for  a tem- 
porary j)urpose,  they  evince  originality  of  conception,  freedom  of  manner,  lofty  apjire- 
ciation  of  national  idems,  and  action,  and  a large  artistic  instinct.”  — Jarves,  Art  Idea. 

“ Nast  has  jiroved  one  of  the  most  spirited  and  authentic  draughtsmen  of  the  battles 
and  other  scenes  incident  to  the  late  Civil  War.  His  illustrations  for  Harper’s  Weekly 
show  talent  and  fidelity.  He  is  an  original  designer,  and  exhibits  a remarkable  gra-sp  of 
the  great  questions  at  issue.”  — Tuckerman’s  Book  of  the  Artists. 

“ What  a gift  is  this  year’s  volume  of  Harper’s,  setting  New  York  and  its  affairs  so 
wonderfully  before  us  ! It  would  do  you  good  to  know,  if  I could  tell  you,  the  enjoy- 
ment your  great  and  glorious  Nast  is  giving  in  this  valley.  I sent  the  number  to  Fox 
How,  when  W.  E.  Forster  was  there,  and  they  borrowed  it  again  for  the  Stanleys  and 
Lady  Richardson.  The  favorite,  the  one  supremely  extolled,  is  that  of  the  Romish 
Crocodile  and  the  children.  The  Dean  [Stanley]  was  delighted  with  it.”  — Harriet 
Martineau’s  Autobiography,  Vol.  II. 

Navez,  Francois  Joseph.  (Belgian.)  Bom  at  Charleroi  (1787 
- 1869).  Member  and  Professor  of  the  Royal  Academy  of  Belgium. 
Correspondent  of  the  Institutes  of  France  and  Holland.  Chevalier  of 
the  Orders  of  the  Lion  of  Belgium,  of  Leopold,  of  William,  and  of  the 
Legion  of  Honor.  Member  of  various  academies  and  important  art 
associations.  Pupil  of  Frangois  and  David.  His  “ Hagar  in  the 
Desert”  is  at  the  Brussels  Museum  ; his  “Raising  of  the  Sulamite’s 
Son”  and  the  “ Meeting  of  Isaac  and  Rebecca”  are  at  The  Hague  ; 
an  “ Italian  Mother  with  a Sick  Child  ” is  at  the  National  Gallery,  Ber- 


144  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


lin  ; The  Prophet  Samuel,”  in  the  iluseum  at  Haarlem.  His  works 
are  also  seen  in  churches  in  Brussels,  Amsterdam,  etc.  His  portraits 
were  much  admired.  He  painted  one  of  William  of  Holland  for  the 
Duke  of  Wellington. 

Neagle,  John.  (Am.)  (1799-1865.)  A portrait-painter,  cora- 
jiarativel}'  self-taught.  He  was  apprenticed  to  a coach-painter  in 
Philadelphia.  About  1818  he  began  the  practice  of  the  higher 
branches  of  his  profession  in  that  city,  settling  in  Lexington,  Ky., 
and  subsequently  in  New  Orleans.  His  best-known  work,  ‘‘  Patrick 
Lyon  the  Blacksmith,”  in  the  Boston  Athenaeum,  was  painted  in  1826. 
He  was  a son-in-law  of  the  artist  Sully,  from  whom,  in  his  early  years, 
he  received  much  encouragement  and  help.  The.  best  part  of  his  pro- 
fessional life  was  spent  in  Philadelphia,  where  are  still  preserved  many 
of  his  pictures,  notably,  the  portrait  of  Washington  in  Independence 
Hall,  of  Henry  Clay  in  the  Union  League  Club,  and  of  Henry  Carey 
in  the  Academy.  He  was  President  of  the  Philadelphia  Artists’  Fund 
Society  for  many  years.  A valuable  portrait  of  Gilbert  Stuart  by 
Neagle  is  now  in  the  Boston  Athenteum.  It  was  exhibited  at  the 
Centennial  Exhibition  of  1876. 

Neal,  David.  (Am.)  Born  in  Lowell,  Mass.,  1837.  He  went  to 
Munich  in  1861,  where  he  has  since  lived.  In  1862  he  entered  the 
Royal  Academy  of  Bavaria,  where  he  studied  from  the  antique  for 
two  years,  later  becoming  a pupil  of  his  father-in-law,  the  Chevalier 
Ainmuller.  In  1869  he  entered  the  studio  of  Piloty,  remaining 
until  1876,  ch.anging  his  style  of  work  and  devoting  himself  entirely 
to  figure-painting  at  that  master’s  suggestion.  Presuous  to  thi.s,  he 
painted  several  interiors,  the  most  important  being  “ The  Chapel  of 
the  Kings,  Westminster  Abbey”  (belonging  now  to  Francis  Cutting 
of  Boston)  and  “ St.  Mark’s,  Venice  ” (now  the  property  of  Samuel 
Nickerson,  President  of  the  First  National  Bank  of  Chicago)  ; both  of 
these  were  at  the  International  Art  Exhibition  at  Munich  in  1869, 
and  later  at  the  National  Academy  of  New  York.  In  1876  Mr.  Neal 
was  awarded  the  great  medal  of  the  Royal  Bavarian  Academy  of 
Fine  Arts  for  his  “ First  Meeting  of  Mary  Stuart  and  Rizzio.”  This 
medal  is  the  highest  in  the  gift  of  the  Academy,  and  Mr.  Neal  the 
first  American  upon  whom  it  has  been  bestowed.  This  picture  was 
later  in  the  collection  of  D.  0.  Mills,  President  of  the  Bank  of  Cali- 
fornia, and  was  exhibited  at  the  Munich  Art  Union,  afterwards  in 
London,  later  in  Boston,  Lowell,  Chicago,  and  elsewhere  in  the  Llnited 
States.  It  has  been  extensively  photographed.  Among  his  works 
are,  “ Return  from  the  Chase  ” (belonging  to  John  Bloodgood  of  New 
York),  exhibited  in  Munich  for  the  benefit  of  the  wounded  in  the 
Franco-German  war,  and  at  the  National  Academy,  New  York  ; 
“ James  Watt,”  a large  historical  picture  at  the  Royal  Academy,  Lon- 
don, in  1874  (belonging  to  Sir  B.  S.  Phillipps,  formerly  Lord  Mayor  of 
London)  ; “ The  Burgomaster  ” ; and  several  portraits  and  ideal  heads. 


ARTISTS  OF  THE  NINETEENTH  CENTURY..  145 


The  “ Wartburg,”  a monthly  journal  of  the  Munich  Archaeological 
Society,  edited  by  the  celebrated  art  critic,  Dr.  Forster,  says  (No.  9, 
1876)  ; — 

“ The  greatest  interest  was  created  at  the  Art  Union  by  a historical  picture  of  con- 
siderable dimensions  by  David  Neal.  This  highly  gifted  artist,  who  is  still  young,  an 
American  by  birth,  and  a pupil  of  Piloty,  took  as  a subject  for  his  picture  the  first 
meeting  of  Marie  Stuart,  the  brilliant  and  lovely  as  well  as  inconstant  Queen  of  Scots, 
with  the  singer  Rizzio.  The  artist  represents  the  object  of  so  much  poetic  lore  in  the 
bloom  and  splendor  of  her  youth  ; the  period  chosen  being  when  she  was  at  the  height 

of  her  fortunes The  scene  is  excellently  well  conceived  and  represented  in  a most 

masterly  manner  ; the  characters,  particularly  those  of  the  principal  personages,  are  well 
carried  out  with  equally  as  much  knowledge  of  the  times,  as  well  as  a love  and  feeling  for 
the  subject.  In  another  column  we  give  a notice  of  the  honorable  distinction  which  has 
been  conferred  upon  Mr.  Neal  on  the  part  of  the  Royal  Academy  for  this  prominent  work.  ” 

Referring  to  a portrait  (Mrs.  Raymond)  exhibited  at  Munich,  the 
“ Zeitschrift  fiir  bildende  Kunst  ” says  : — 

“ From  David  Neal,  a pupil  of  Piloty,  we  have  a lady’s  poi-trait  which  is  to  so  high  a de- 
gree spirited  and  fine  in  the  conception,  and  is  executed  with  so  much  bravour,  that  it  would 
do  honor  to  his  master,  and  certainly  evinces  a finer  feeling  for  color  than  i.s  possessed 
by  even  Piloty  himself.” 

“ In  England  Mr.  Neal  has  earned  a place  in  the  high  ranks  by  hi.s  ‘James  Watt,'  and 
his  ‘ Mary  Stuart  and  Rizzio,’  that  was  exhibited  in  this  country,  has  removed  all  ques- 
tions here  as  to  his  gi-eat  merits.  Looking  at  these  two  paintings,  one  is  impressed  with 
the  power  of  a deep-thinking  artist.  He  has  not  devised  a scene  merely  to  show  off  his 
technical  skill  ; he  saw  deeper,  and  represents  more  than  it  would  be  easy  to  define  in 

words It  would  not  be  amiss  to  analyze,  also,  his  ‘ Mary  Stuart  and  Rizzio.’  We 

should  find  in  it  the  true  elements  of  historical  painting.  The  Queen,  followed  by  her 
maids  and  Darnley,  has  descended  a massive  staircase,  and  has  turned  on  the  lower 
landing,  when  she  sees  Rizzio  reclining  asleep  on  a carved  wood  chest,  his  mandolin  by 
his  side.  The  Queen’s  fixed  look  of  surprise,  her  equivocal  gesture,  are  significant. 
Now  we  have  the  clew  to  all  the  rest ; since  it  is  known  that  Rizzio  has  been  taken  into 
the  Queen’s  household  service,  tlie  love,  and  the  complications,  and  the  murder  follow, 
as  night  the  day.  This  is  high  art ! ” — Chicago  Tribune,  March  24,  1878. 


Weff,  Timoleon  Charles  de.  (Russian.)  Born  at  Korkulla  (1807  - 
1877).  Court  Painter  and  Member  of  the  Academie  des  Beaux-Arts  at 
St.  Petersburg.  Studied  at  Dresden  and  Rome.  In  1826  he  settled 
in  St.  Petersburg,  and  soon  became  distinguished.  Many  of  his  por- 
traits are  of  the  members  of  the  Imperial  Family.  In  the  Hermitage 
at  St.  Petersburg  there  are  two  pictures  by  Neff  of  “ Nymphs  Bath- 
ing.” There  are  more  copies  made  of  these  pictures  than  of  any 
other  works  in  that  gallery. 

Nehlig,  Victor,  N.  A.  (Am.)  Born  in  Paris,  1830.  Studied 
art  in  his  native  city  nnder  Cogniet  and  Abel  de  Pujol,  and  settled  in 
America  in  1850.  He  opened  a studio  in  New  York,  was  quickly 
elected  an  Associate  of  the  National  Academy,  and  made  an  Acade- 
mician in  1870,  when  he  exhibited  “ The  Bravo.”  One  of  the  results 
of  a visit  to  Cuba  was  his  “ Mahogany  Cutting  ” (belonging  to  John 
C.  Force),  which  was  at  the  National  Academy  in  1871,  since  which 
time  he  has  not  exhibited  in  that  gaUery.  He  visited  Europe  in 
1872. 


VOL.  II. 


7 


J 


146  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Among  his  works  are  “The  Artist’s  Dream,”  “ The  Armorer  of  the 
Olden  Time,”  “ Gertrude  of  Wyoming,”  “ Pocahontas,”  “ Hiawatha,” 
“ The  Captive  Huguenot,”  etc. 

N^moz,  Jean-Baptiste-Augustin.  (Fr.)  Bom  at  Thodure. 
Medal  in  1877.  Pupil  of  Picot  and  CabaneL  At  the  Salon  of  1877 
he  exhibited  “Theseus  going  to  fight  the  Minotaur”  ; and  in  1878, 
“ Paradise  Lost.” 

Neuber,  Fritz.  (Ger.)  Bom  at  Cologne,  1837.  Pupil  of  Stephan. 
He  has  passed  some  time  in  several  German  cities,  and  has  worked 
very  c^uietly  in  a manner  quite  his  own.  He  lives  in  Hamburg. 
Among  his  works  are  his  statues  of  Peter  Vischer,  Gustavus  Adol- 
phus, Barbarossa,  Plandel,  Bach,  Neander,  Schleiermacher,  Luther, 
Twelve  Apostles,  etc.  His  works  in  the  Xicolas  Church  brought  him 
into  much  notice,  and  he  received  numerous  commissions  for  busts 
and  other  work  from  private  individuals. 

Neuville,  Alphonse  de.  (Fr.)  Born  at  Saint-Omer,  1836.  Cheva- 
lier of  the  Legion  of  Honor,  ilember  of  a rich  family,  he  had  a fine 
education,  and  left  school  with  honors.  His  parents  intended  him  for 
an  official  career,  but  he  declared  himself  onH  ready  to  join  the  army, 
and  in  spite  of  all  obstacles  he  entered  the  preparatory  school  of  Lori- 
ent.  The  Professor  of  Design  at  this  school,  familiarly  known  as  Papa 
Duhousset,  quickly  remarked  the  astonishing  skill  of  De  Neuville  in 
drawing.  Naturally  the  teacher  took  great  pleasure  and  pride  in  teach- 
ing him,  and  often  declared  to  the  young  fellow,  “Quoique  tu  fasses, 
rappelle-toi  que  tu  ne  seras  jamais  qu’un  peintre.”  He  next  went  to 
Paris  and  entered  the  law  school,  for  the  sake  of  peace  with  his  famil}'. 
He  remained  three  years,  and  passed  most  of  his  time  at  the  military 
school  or  at  the  Champs-de-Mars,  sketching,  and  making  himself  inti- 
mately familiar  with  all  of  a soldiePs  life  which  could  there  be  learned. 
When  he  next  returned  home,  he  declared  that  he  would  be  a painter 
or  nothing.  After  a year  of  opposition  his  father  went  with  him  to 
Paris  to  consult  some  artists  on  the  prospect  for  the  young  man. 
Bellange,  Yvon,  Picot,  all  discouraged  him,  and  advised  his  return  to 
the  home  he  had  left.  But  the  young  fellow  believed  in  his  “lucky 
star,”  and  took  a small  studio  and  went  to  work.  His  fii'st  picture, 
“ The  Gervais  Battery,”  w'as  accepted  at  the  Salon  of  1859  and  took 
a medal  of  the  third  class.  Just  then  Delacroix,  who  was  in  his  de- 
cline, became  the  friend  of  the  artist,  and,  while  his  doors  were  closed 
to  most  people,  De  Neuville  spent  many  hours  with  him.  In  I860 
the  debutant  received  a commission  to  paint  “ The  Taking  of  Naples 
by  Garibaldi,”  for  the  Cercle  Artistique.  He  went  to  Italy,  and  the 
picture  which  he  brought  back  was  bad  enough  to  satisfy  a bitter 
enemy  ! In  1861  his  “ Chasseurs  of  the  Guard  ” took  a second  medal 
at  the  Salon.  From  this  time  attention  w’as  turned  to  De  Neuville, 
and  he  held  a place  among  French  military  painters.  He  received, 
however,  but  few  orders,  and  was  obliged  to  make  wood-cuts  for 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  147 


illustrated  publications,  in  order  to  live.  In  this  department  he  has 
been  nearly  as  fruitful  as  Gustave  Dore.  His  picture  ot  the  “ Attack 
of  the  Streets  of  Magenta”  (1864)  was  very  successful,  and  was 
bought  by  the  State  for  the  city  of  Saint-Omer.  His  picture  of  1868 
was  purchased  for  the  Museum  of  Lille,  — it  was  “ The  Chasseurs 
crossing  the  Tchernaia  on  Foot.”  Naturally  the  war  of  1870-71 
was  an  inspiration  to  this  painter,  and  the  pictures  he  has  since 
painted  have  placed  him  in  the  first  rank  among  his  fellows.  “ The 
Bivouac  before  Bourget  ” (1872)  is  at  the  Museum  of  Dijon.  “ The 
Last  Cartouches  at  Balan”  (1873)  was  judged  worthy  of  the  Cross  of 
the  Legion  of  Honor.  In  1874  he  exhibited  “ The  Attack  by  Fire 
on  a Barricaded  House  at  Villersexel.”  This  is  considered  his  best 
work  by  many.  Paul  Mantz  calls  it  a “ masterpiece.”  De  Neuville, 
in  his  frequent  journeys,  makes  some  sketches  not  “ in  his  line,”  as 
one  may  say,  and  has  painted  a few  subjects,  such  as  the  “ Recolte  du 
Varech,”  which  are  also  excellent  pictures.  At  the  Salon  of  1877  he 
exhibited  “An  Episode  in  the  Battle  of  Forbach,  August  6,  1870” 
and  a portrait ; in  1875,  “A  Surprise  in  the  Environs  of  Metz,  Au- 
gust, 1870.”  In  the  gallery  of  W.  T.  Walters  of  Baltimore  is  his 
“ Engineer  Officer  on  a Reconnoissance.” 

“ De  Neuville  has  not  perhaps  the  exactness  and  careful  timidity  of  Detaille  : he  is 
not,  like  him,  the  pupil  of  Meissonier  and  a miniaturist  by  profession  : but  he  has  free- 
dom, audacity,  movement,  truth  of  physiognomy,  truth  of  gesture,  truth  of  color  at  the 
end  of  his  brush,  and  all  without  visible  effort.  In  a word,  he  has  the  genius  of  action, 
that  entirely  French  quality  which  one  cannot  exact  from  a Dutchman  like  Detaille.”  — 
Ernest  Duvebgier  de  Haukanne,  Revue  des  Deux  Mondes,  June,  1874. 

Newell,  Hugh.  (Am.)  Born  in  Ireland.  Brought  up  in  Belfast, 
and  educated  at  Queen’s  College  there.  He  studied  art  in  Antwerp, 
also  in  Paris  under  Couture,  and  later,  in  London,  in  the  South  Ken- 
sington Schools.  At  the  age  of  twenty-one  he  came  to  the  United 
States,  settling  in  Baltimore,  and  receiving  both  the  gold  and  silver 
medals  of  the  Maryland  Institute.  His  professional  life  has  been 
spent  in  Baltimore  and  Pittsburg,  Pa.,  and  his  paintings  have  been 
exhibited,  and  are  owned  in  those  cities,  in  Philadelphia  and  New 
York.  Since  1870  he  has  been  Principal  of  the  Pittsburg  School  of 
Design  for  Women,  and  was  awarded  a diploma  for  the  work  of  this 
school  from  the  judges  of  the  Centennial  Exhibition  of  1876  in  Phil- 
adelphia. His  “ Smithy  ” was  at  the  National  Academy  of  New 
York  in  1873;  his  “ In  the  Cottage  Window  ” and  “ Basket  of  Grapes,” 
in  1878. 

Newman,  Henry  R.  (Am.)  A water-color  artist,  who  has  lived 
for  many  years  in  Florence.  He  paints  a variety  of  subjects,  and  is 
very  happy  in  his  flower-pieces.  As  a teacher,  he  has  been  very  suc- 
cessful and  fashionable,  and  well  merits  the  praise  bestowed  upon  his 
work.  He  exhibited  in  Florence,  in  1878,  “ A Study  of  Pink  and 
White  Oleanders  ” and  “Grapes  and  Olives,”  and  sent  to  the  Gros- 


148  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


venor  Gallery,  London,  the  same  year,  “ Flowers  ” and  “ An  Architec- 
tural Study.”  Several  of  his  Florentine  street  scenes  belong  to  Lord 
Spencer.  Of  a drawing  of  Santa  Maria  Novella,  Florence,  by  ilr. 
Newman,  Ruskin  wrote  to  the  artist  in  1877  : “I  have  not  for  many 
and  many  a day  seen  the  sense  of  tenderness  and  depth  of  color  so 
united,  still  less  so  much  fidelity  and  affection  joined  with  a power  of 
design  which  seems  to  me,  though  latent,  very  great.  To  have  made  a 
poetic  harmony  of  color  out  of  an  omnibus-stand  is  an  achievement  all 
the  greater  in  reality  because  not  Likely  to  have  been  attempted  with 
all  one’s  strength.” 

Newton,  Sir  William  John.  (Brit.)  (1785-1869.)  Miniature- 
painter  to  the  Queen,  receiving  the  honor  of  Knighthood  in  1837.  In 
his  branch  of  the  profession  he  was  popular  ancl  much  patronized  by 
the  Royal  and  Noble  Families.  He  contributed  a large  number  of 
works  to  the  Royal  Academy  yearly,  until  1863.  “ The  Christening 

of  the  Prince  of  Wales  at  Windsor  ” (which  was  at  the  Royal  Academy 
in  1845)  was  his  largest  and  most  important  picture.  It  was  painted 
on  ivory,  and  attracted  much  attention. 

Newton,  Mrs.  Charles  T.  {Brit.)  (1832-1866.)  Daughter  of 
John  Severn,  an  artist.  She  displayed  remarkable  talents  for  art  at 
an  early  age,  and  studied  under  George  Richmond,  devoting  herself  to 
portrait  and  figure  painting  in  water  and  oil.  In  1861  she  was  married 
to  C.  T.  Newton,  Superintendent  of  Antiquities  at  the  British  Museum, 
and  turned  her  attention,  during  the  few  remaining  years  of  her  life, 
to  drawing  from  the  Roman  and  Greek  sculptures  and  vases  in  that 
institution.  Among  her  paintings  may  be  mentioned,  “ Elaine,” 
“ Sebaste,”  “ Levantine  Lady,”  “ Jewess  of  Smyrna,”  “ Letty,”  etc. 
She  exhibited  a portrait  of  herself  at  the  Royal  Academy  in  1863. 

Newton,  Alfred  P.  (Brit.)  Born  in  1835.  A graduate  of  no 
school  of  painting,  and  comparatively  self-taught,  he  has  studied  di- 
rectly from  nature  in  Wales,  Scotland,  and  Italy,  devoting  himself  to 
landscapes,  chiefly  in  water-colors.  He  was  elected  a member  of  the 
Society  of  Painters  in  W’^ater-Colors  in  1860,  upon  the  exhibition,  in 
its  gallery,  of  his  first  works.  Among  his  more  important  pictures 
are,  “ Moiintain  Gloom,”  “ Mountain  Glory,”  “ Mystery  and  Immen- 
sity,” “ Nature’s  Merriments  ” (in  oil),  “ Declining  Day,”  “ The  First 
Approach  of  Winter,”  etc.  His  “ Mountain  Gloom ” and  “Left  by 
the  Tide”  were  at  the  Philadelphia  Exhibition  in  1876,  gaining  a 
medal.  To  Paris,  in  1878,  he  sent  “ Left  by  the  Tide.” 

“ It  is  literally  certain  that  no  artist  whatever,  hefore  our  day,  could  have  drawn  that 
mountain  [‘Glencoe’]  with  sucli  truth.  No  artist  before  this  century  would  have  un- 
derstood tile  mass  of  granite  under  the  thin  and  broken  turf.  Nor  would  any  older 
artist  have  felt  the  loveliness  of  the  natural  scene  in  this  half-melancholy,  half-pleas- 
urable spirit.  The  work  is  impressive  because  the  scene  is  impressive,  and  because  the 
artist  has  trained  himself  to  see  and  feel  enough  to  reproduce,  but  not  enough  to  trans- 
form nature,  and  make  a new  creation  of  his  own.”  — P.  G.  Hamef.tojj,  in  English  Paint- 
ers of  the  Present  Day, 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  149 


Nevin,  Blanche.  (Am.)  Native  of  Philadelphia.  Studied  sculp- 
ture under  J.  A.  Bailly  and  at  the  Pennsylvania  Academy  of  Fine  Arts. 
Executed  several  portrait  and  ideal  busts,  owned  principally  in  her 
native  city.  Among  her  more  important  works  are  a full-length  statue 
of  “ Eve  ” and  a statuette  of  “ Cinderella.” 

Nicol,  Erskine,  A.  R.  A.  (Brit.)  Born  near  Edinburgh,  1825. 
Was  apprenticed  to  a house-painter  in  his  native  city,  in  his  leisure 
hours  studying  in  the  Trustees  Academy,  and  teaching  drawing  a few 
years  later  in  the  High  School  at  Leith.  After  spending  three  or  four 
years  in  Dublin,  where  he  gave  lessons  in  drawing  and  painted  por- 
traits, gathering  at  the  same  time  material  for  the  clever  sketches  of 
Irish  character  in  which  he  has  been  so  successful,  he  returned  to 
Edinburgh,  contributing  regularly  to  the  exhibitions  of  the  Royal 
Scottish  Academy,  of  which  he  is  an  Associate  Member.  He  re- 
moved to  London,  where  he  still  resides,  in  1862.  He  sent  to  the 
Royal  Academy,  in  1857,  “Did  it  pout  with  its  Betsy?”;  in  1861, 
“Toothache”  ; in  1862,  “Notice  to  Quit”  ; in  1863,  “Waiting  an 
Answer”  ; in  1864,  “ Among  the  Old  Masters  ” ; in  1865,  “ A Depu- 
tation ” ; in  1866,  “Both  Puzzled”;  in  1867,  when  he  was  made 
Associate  of  the  Royal  Academy,  he  sent  “ Kiss  an  ’ make  it  up  ” ; in 
1868,  “A  China-Merchant”  ; in  1869,  “A  Disputed  Boundary”  ; 
in  1871,  “On  the  Lookout”;  in  1872,  “His  Babies”;  in  1873, 
“ Steady,  Johnny,  Steady  ! ” ; in  1875,  “ The  New  Vintage”  and  “Al- 
ways tell  the  Truth!”  ; in  1876,  “Storm  at  Sea”  ; in  1877,  “ Un- 
willingly to  School”;  in  1878,  “The  Lonely  Tenant  of  the  Glen,” 
“ Under  a Cloud,”  and  “ The  Missing  Boat.” 

“ The  Almshouse  Nurse,”  a sketch  of  Erskine  Nicols,  was  in  the 
National  Academy  of  New  York  in  1869;  his  “ Paying  the  Rent  ” 
(belonging  to  F.  0.  Day)  was  in  the  Centennial  Exhibition  of  Phila- 
delphia in  1876;  his  “Collecting  his  Thoughts”  brought  $ 1,560, 
and  his  “Yours  to  Command”  $ 1,575,  in  the  sale  of  the  Latham 
Collection  in  New  York  in  1878  ; both  were  painted  in  1865,  and 
now  belong  to  Theron  R.  Butler  of  New  York.  His  works  are  famil- 
iarly known  on  both  sides  of  the  Atlantic  through  the  medium  of 
engraving. 

“ Erskine  Nicol’s  ‘ Storm  at  Sea  ’ [R.  A.,  1876]  is  a picture  of  great  pathetic  power, 
vigorously  lianclled,  marvelously  well  drawn,  and  abounding  in  evidences  of  skill  and 
painstaking  study,” —A7-(  Journal,  July,  1876. 

“ Erskine  Nicol  is  represented  by  one  of  his  inimitable  bits  of  Irish  comedy.  Ex- 
pression could  go  no  further  than  in  his  burly  farmer  who  has  come  into  town  to  con- 
sult ‘ His  Legal  Adviser  ’ [R.  A.,  1877].”  — London  Standard,  May,  1877. 

‘‘  A very  broadly  painted  group  [‘  Unwillingly  to  School,’  R.  A. , 1877],  showing  an  old 
Scotch  dame  doing  her  best  to  coax  a braw  little  Hieland  laddie,  in  a kilt  and  blue  bon- 
net, and  with  a pair  of  cheeks  like  unto  two  Ribstone  pippins,  into  going  to  school. 
The  contest  of  emotions  in  this  work  is  exquisitely  rendered.”  — Illustrated  London  News, 
May,  1877. 

Nicoll,  J.  C.  (Am.)  Born  in  the  city  of  New  York  in  1845, 


150  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


where  the  greater  part  of  his  professional  life  has  been  spent,  with 
the  exception  of  extensive  sketching-tours  along  the  coast  from  the 
Gulf  of  St.  Lawrence  to  Florida.  Mr.  Nicoll  painted  for  two  years 
in  the  studio  of  Mr.  F.  H.  De  Haas,  and  has  studied  in  the  fields  with 
Mr.  De  Haas,  Kruseinan  Van  Elten,  and  others,  hut  does  not  consider 
himself  a pupil  of  either  of  these  gentlemen,  and  was  not  a student 
of  any  of  the  art  schools  of  this  country  or  of  Europe.  His  works, 
which  are  of  moderate  size,  have  been  exhibited  in  the  principal  cities  of 
the  country.  He  is  not  a member  of  the  National  Academy,  but  one 
of  the  original  members  of  the  Water-Color  Society  in  1866,  holding 
the  position  of  secretary  for  nine  years,  and  being  better  known  in 
that  branch  of  the  art,  to  which  a large  part  of  his  time  has  been  de- 
voted. His  specialty  is  coast  views.  He  was  elected  a member  of 
the  Artists’  Fund  Society  in  1874. 

Among  the  better  known  of  Nicoll’s  works  in  oils  are,  “ Thatcher’s 
Island,  Mass.”  (sold  in  Syracuse),  “Sunset,  Bay  of  Fundy  ” (now 
in  Chicago),  and  “ A Summer’s  Resting-Place  ” (belonging  to  H.  P. 
Farnham)  ; in  water-colors,  “ Moonlight,  Cape  Ann  ” (the  property 
of  J.  M.  Sears  of  Boston),  “Off  Portland  Harbor,”  “Shower  on 
the  Coast,”  “ Schroon  Lake,”  and  “ Coast  View  in  Spring.”  His 
“Foggy  Morning,  Grand  Menan  ” and  his  “Gulf  of  St.  Lawrence” 
were  at  the  Centennial  Exhibition  of  1876  ; “ On  the  Gulf  of  St. 
Lawence  ” and  “ Shower  on  the  Coast  ” (both  in  water-colors)  were 
at  the  Paris  Exposition  of  1878. 

“ NicoU’s  ‘ Coast  View  in  Spring  ’ [water-color,  1875]  is  an  admirable  specimen  of  liis 
skill.  The  coast  line  is  rocky,  and  in  giving  the  texture  of  the  water-worn  granite  as 
well  as  the  breaking  surf  with  its  shower  of  spray,  the  artist  shows  that  his  study  has  been 
earnest  as  well  as  conscientious.  In  color  the  work  is  brilliant,  and  what  is  commend- 
able, there  is  no  departure  from  truth  to  produce  the  result.” — Art  Journal,  March,  1875. 

Nieman,  Edmund  John.  (Brit.)  Born  in  Islington,  of  German 
parentage  (1813-1876).  Engaged  in  mercantile  pursuits  until  the 
age  of  twenty-six,  when  he  took  up  the  profession  of  an  artist.  He 
resided  in  Buckingliamshire,  and  painted  from  nature.  He  first  ex- 
hibited at  the  Royal  Academy,  in  1844,  “ On  the  Thames,  near  Great 
Marlow,”  which  attracted  favorable  notice.  In  18.50  he  was  elected 
trustee  and  honorary  secretary  of  the  National  Institution,  a short- 
lived association  of  artists.  Among  his  better  known  works  are,  “ The 
Thames  at  Maidenhead,”  “Recollections  of  the  Rhine,”  “Scarbor- 
ough,— Sunset”  (1862),  “ Moss  Troopers,”  “The  Ambush,”  “Chester 
Cathedral,”  “Launch  of  the  Great  Eastern,”  and  a view  of  “ Scarbor- 
ough,” his  last  exhibited  work,  at  the  Royal  Academy  in  1872. 

^‘Nieman’s  style  of  painting  may  lay  claim  to  a certain  originality  His  coloring  is 
powerful,  with  often  a tendency  to  heaviness,  hut  at  all  times  it  is  highly  effective.  Four 
of  hi.s  paintinos  are  in  the  National  Collection  at  South  Kensington.*’  — Art  Journaf^ 
August,  1S77. 

Niemeyer,  John  H.  (.4m.)  Born  in  the  city  of  Bremen,  1839. 
He  was  taken  to  the  United  States  at  an  early  age,  but  returned  to  Eu- 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  151 


rope  as  a youth  to  complete  his  art  education,  studying  in  the  School 
of  Fine  Arts,  Paris,  under  Gerdme  and  Yvon,  and  for  some  time  in 
the  private  atelier  of  Jacquesson  de  la  Chevreusse.  From  1866  to 
’70  he  was  in  the  studio  of  Cornu.  He  received  two  medals- from  the 
Imperial  School  of  Design  in  Paris.  His  professional  life  in  America 
was  spent  in  New  York  until  1871,  when  he  was  appointed  Pro- 
lessor of  Drawing  in  the  Yale  School  of  Fine  Arts,  where  are  some  of 
his  genre  pictures.  Among  his  important  works  are,  “ Guttenberg 
inventing  Movable  Type,”  at  the  Paris  Salon  of  1869,  and  at  the  Cen- 
tennial Exhibition  at  Philadelphia,  in  1876.  Of  late  years  he  has 
])ainted  portraits  and  ideal  works. 

“ A picture  with  a meaning  conveys  a double  satisfaction,  and  the  artist  could  scarcely 
have  chosen  a subject  more  appreciated  by  every  one.  The  picture  itself  [*  Guttenberg 'J 
is  a product  of  a master’s  hand,  and  Mr.  Niemeyer  shows  an  intimate  knowledge  of  de- 
tail of  the  early  ages."  — New  York  Telegram,  March  4,  1871. 

Nittis,  Giuseppe  de.  (Ital.)  Born  at  Barletta.  Medal  in  1876. 
Pupil  of  Gerdme.  At  the  Salon  of  1877  he  exhibited  “ Paris,  — View 
from  the.  Pont  Royal”  ; in  1876,  “ On  the  Road  to  Castellamare  ” and 
“Place  des  Pyramides”  ; in  1875,  “ Place  de  la  Concorde”  and  “At 
Bougival,  on  the  Seine.”  At  the  Glasgow  Fine  Art  Loan  Exhibi- 
tion, 1878,  there  was  a fine  picture  by  De  Nittis  of  the  “ Arc  de 
Triomphe,  Paris,”  belonging  to  J.  G.  Sandeman,  Esq^.  “ In  the  dis- 
tance the  arch,  protected  by  scaffolding  and  woodwork.  In  the  street, 
and  riding  out  of  the  picture,  a lady  on  a black  horse  and  a gentleman 
on  a brown.  In  the  foreground,  to  the  right,  a lady  in  black,  accom- 
jianied  by  a nurse  with  scarlet  and  black  tartan  shawl,  wait  to  cross 
the  street.  Other  figures  through  the  picture.” 

Nobas,  Rosendo.  (Span.)  At  Philadelphia  he  exhibited  “ A 
Wounded  Bull-Fighter,”  a portrait  of  Fortuny,  and  one  of  Miguel  de 
Cervantes,  all  in  plaster,  and  received  a medal. 

Noble,  Matthew.  (Brit.)  (1818-  1876.)  Studied  in  London, 
e.xhibiting  there  his  first  work  in  1845.  He  executed  the  Wellington 
Monument  in  Manchester,  Oliver  Cromwell  in  the  same  city  (the  first 
statue  to  the  Protector  erected  in  a public  place  in  England),  and 
statues  of  Sir  John  Franklin,  Sir  Janies  Outram,  the  Earl  of  Derby, 
and  of  Queen  Victori.a,  in  different  cities  of  Great  Britain.  Among 
his  ideal  works  are,  “Amy  and  her  Fawn,”  “ Purity,”  “ The  Spirit  of 
Truth,”  etc. 

“This  flue  bronze  statue  [Earl  of  Derby]  is  an  object  of  great  attraction  to  almost 
every  one  wlio  liappeiis  to  be  for  the  first  time  in  tlie  neigl)borhoo(l  of  the  Houses  of 
Parliament  and  Westminster  Abl)ey.  The  statue  is  one  of  Mr.  Noble’s  most  successful 
works.  The  figure,  liabited  in  tlie  costume  of  tlie  Oxford  cliancellor,  is  very  dignified, 
yet  easily  and  gracefully  imsed  ; the  expression  of  the  face  is  rather  severe,  but  highly 
intellectual.  [It  was  unveiled  in  1874.]  ’’  — Art  Jmirnal,  August,  187.'). 

Noel,  Edme-Antony-Paul.  (Fr.)  Born  at  Paris.  Medals  in 
1872  and  ’74.  Pupil  of  Guillaume,  Lequesne,  and  Cavelier.  Prix  de 


152  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Rome  in  1868.  Chevalier  of  the  Legion  of  Honor  in  1878.  At  the 
Salon  of  1878  he  exhibited  a portrait  of  Baron  Taylor  (in  bronze) 
and  “ Meditation  ” (a  statue  in  marble)  ; in  1876,  “ After  the  Bath  ” 
(statue,  marble)  ; in  1875,  “ Romeo  and  Juliet  ” (group,  marble)  and 
“ The  Retiarius  ” (statue,  bronze)  ; in  1872,  “ Marguerite  ” (statue)  and 
“ Death  ” (a  bas-relief),  both  in  plaster,  etc. 

M.  Noel  is  also  known  by  his  artistic  work  in  the  Haviland  faience, 
a fine  specimen  of  which  is  a vase  in  the  possession  of  Mr.  Harjier 
of  New  York.  His  signature  is  on  his  vases,  and  they  are  all  modeled, 
never  molded. 

Norton,  William  E.  (.4m.)  Sprung  from  a shipbuilding  family 
in  Massachusetts,  he  had,  from  his  infancy,  a fondness  for  the  sea, 
making  several  voyages  before  the  mast,  before  he  settled  in  Boston, 
and  began  the  painting  of  marine  \’iews,  which  are  his  specialty,  and 
in  which  he  has  met  with  decided  success.  In  1877  he  went  abroad, 
opening  a studio  in  London.  Among  his  works  are,  “ Gathering 
Kelp,”  “ Whale-Ships  Trying  Out,”  “ Early  ilorning,”  “ Calm  After- 
noon,” etc.  His  “ Fog  on  the  Grand  Banks  ” was  at  the  Philadelphia 
Exhibition  of  1876.  To  the  Royal  Academy,  London,  he  sent  in 
1878,  “The  Thames  near  Blackwall,”  “Twilight  on  the  Banks  of 
Newfoundland,”  and  “Becalmed  on  the  Grand  Banks.”  To  the 
Mechanics’  Fair,  Boston,  the  same  year,  “ Midnight  Moonlight  on 
the  Grand  Banks,”  “ Nantasket  Beach  in  November,”  and  “ In  the 
Bay.” 

“ William  E.  Norton’s  ‘ Crossing  the  Grand  Banks  ’ is  most  remarkable  for  its  effective 
presentation  of  fine  neutral  tints  of  rich  deep  gray,  and  soft  rich  hazy  dream-light."  — 
Journal,  May,  1S77. 

Oakes,  John  Wright,  A.  R.  A.  (Brit.)  Born  in  1822.  First 
sent  a picture  to  the  Roj’al  Academy  in  1848.  In  1860  he  exhibited 
“An  Old  Sand-Pit”;  in  1861,  “Water  Meadows,  Sandwich”;  in 
1863,  “The  River  in  Flood”  ; in  1865,  “ Morning  at  Augera,  Lago 
Maggiore  ” ; in  1869,  “Early  Spring  ” ; in  1870,  “A  Summer  Morn- 
ing” ; in  1871,  “ Source  of  the  Thames”  ; in  1872,  “Repairing  the 
Old  Boat”  ; in  1873,  “ A Mountain  Stream,  Aberdeenshire  ” ; in  1874, 
“ A Sandy  Bit  of  the  Road  ” ; in  1876  (when  he  was  elected  an  Asso- 
ciate of  the  Royal  Academy),  “ Fording  a Tidal  Creek  ” and  “•  Shel- 
tered”; in  1877,  “In  the  Border  Countrie”  and  “Line-Fishing” 
(a  calm  sea  on  the  South  Coast)  ; in  1878,  “ Dirty  Weather  on  the 
East  Coast  ” and  “ In  the  Meadows.” 

“We  remember  no  landscape  of  Mr.  O.akes’  so  powerful  or  so  well  brought  together  in 
effeet  as  his  ‘ Mountain  Valley  ’ [R.  A.,  1SG4].  Otters  catching  salmon  in  the  foreground, 
whilst  behind  a sudden  gleam  of  angrj’  light,  succeeding  rain  and  snow,  smites  the  frac- 
tured face  of  a huge  slate-cliff.  Tlie  work  has  a real  solemnity  of  effect  ” — P.vlgrave's 
Essays  on  Art. 

Oakey,  Maria  R.  (Am.)  Bom  in  New  Fork,  184/.  She  was 
educated  at  the  schools  of  the  Cooper  Institute  and  the  Academy  of 
Design,  and  has  had  the  benefit  of  instruction,  at  different  periods,  from 


ARTTSTS  OF  THE  NINETEENTH  CENTURY.  153 


La  Farge,  William  Hunt,  Dr.  Riramer,  Swain  Gifford,  George  Butler, 
Edwin  Forbes,  and  Thomas  Couture.  With  the  exception  of  a visit 
to  France  and  Italy  her  professional  life  has  been  spent  in  New  York. 
Among  her  works  are  a portrait  of  a boy,  life  size  and  full  length,  ex- 
hibited in  Boston  and  New  York  (belonging  to  Daniel  Oakey);  por- 
trait of  Miss  0.  S.  Ward ; “A  Woman  Serving,”  exhibited  in  New 
York,  Boston,  and  London  (belonging  now  to  Edward  Cook);  “Vio- 
lets,” a life-size  (three-quarter  length)  figure  of  a young  girl  in  an- 
tique dress,  at  the  Exhibition  of  the  Society  of  American  Artists  in 
1878;  “LTnamorato”;  “The  Philosopher’s  Corner  ” (in  oil),  belong- 
ing to  Samuel  V.  Wright  of  New  York  ; and  portraits,  flowers,  still- 
life,  and  charcoal  drawings,  owned  by  Miss  Bartol  of  Boston,  C.  W. 
Woolsey,  John  P.  Townsend,  J.  Q.  A.  Ward,  Alexander  Cochrane,  and 
others. 

O’Connell,  Mme.  Frederic-Emilie-Auguste-Miethe.  {Ger.) 
Born  at  Berlin,  1828.  Pupil  of  Begas  of  Berlin.  Her  first  picture, 
the  “ Day  of  the  Dupes,”  though  far  from  perfect,  was  much  praised. 
In  1844  she  married  and  settled  in  Brussels.  Here,  by  the  study  of 
the  pictures  of  the  Flemish  school,  she  much  improved,  and  while  in 
Belgium  she  painted  many  water-colors,  some  portraits,  and  executed 
most  of  her  etchings.  She  received  at  the  Salons  there  all  the  med- 
als, including  that  of  the  first  class.  About  1853  she  went  to  Paris, 
where  she  was  also  successful,  and  where  she  opened  an  atelier,  and 
received  a number  of  pupils.  Among  her  works  are,  “ Portrait  of 
Rachel,”  “ Peter  the  Great  and  Catherine,”  “ Maria  Theresa  and 
Frederick  the  Great.”  Among  her  etchings  are,  “ St.  Magdalen  in  the 
Desert,”  “ Charity  surrounded  by  Children,”  some  busts,  portraits,  etc. 

O’Donovan,  William  R.  (Am.)  Born  in  Virginia,  1844.  An 
American  sculptor  whose  professional  life  has  been  spent  in  the  city 
of  New  York.  He  sent  to  the  National  Academy,  in  1874,  a bust  of 
the  late  Peter  Gilsey  (belonging  to  Mr.  Henry  Gilsey).  In  1876  he 
exhibited  a bust  of  the  late  John  A.  Kennedy,  executed  for  the 
monument  to  be  placed  over  his  grave  by  the  Odd  Fellows.  In  1877 
he  sent  his  bust  of  Thomas  Le  Clear,  N.  A.,  and  in  1878,  busts  of 
William  H.  Beard,  Winslow  Homer,  and  one  of  William  Page,  to  be 
presented  by  a number  of  prominent  residents  of  New  York  to  the 
Academy  of  Design.  He  is  at  present  (1878)  engaged  upon  a bust  of 
Theodore  Tilton,  and  many  prominent  Americans  have  been  among 
his  subjects.  He  was  elected  an  Associate  of  the  National  Academy 
in  1878. 

“ In  making  a bust  Mr.  O’Donovan,  as  he  should,  pays  as  much  attention  as  a por- 
trait-painter does  to  the  modifying  influence  of  color  or  form One  of  the  best 

and  best-known  artists  of  the  country  is  reported  to  have  said  recently  of  O’Donovan’s 
portrait  of  the  painter  Page,  that  it  is  executed  in  the  true  Pliidian  spirit.  This  was 
only  another  way  of  saying  that  it  is  in  the  style  of  the  purest  ancient  Greek  art,  and  as 
so  little  of  our  modern  sculpture  deserves  such  praise,  Mr.  O’Donovan’s  bust  is  a singu- 
larly interesting  performance.”  — Journal,  February,  1878. 

7* 


154  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Ogilvie,  Clinton,  A.  N.  A.  {Am.)  Born  in  New  York,  1838, 
He  has  devoted  himself  to  landscape-painting,  studying  under  James 
Hart,  and  practicing  his  profession  in  his  native  city.  He  has  t^Hce 
visited  Europe,  working  for  some  time  in  Paris.  In  1864  he  was 
elected  an  Associate  of  the  National  Academy,  exhibiting  there,  in 
different  seasons,  “ The  Path  by  the  River,”  “ Valley  of  the  Croton,” 
“ Farmington  River  Scenery,”  “ The  Brookside,”  “ Summer  Day  in 
Connecticut,”  “ Sunny  Summer  Time,”  “ The  Mountain  Brook,” 
“Near  Brummer,  Switzerland,”  “ Lauterhrunnen,”  “Lake  Como,” 
“ Lake  of  Killarney,”  etc.  His  “ In  the  Woods”  was  at  the  Centen- 
nial Exhibition  at  Philadelphia  in  1876. 

Oliva,  Alexandre-Joseph.  (E?-.)  Bom  at  Saillagous.se,  about 
1824.  Chevalier  of  the  Legion  of  Honor.  Pupil  of  Delaistre.  Best 
known  by  his  portrait  statues  and  busts,  of  which  he  has  made  a 
great  number.  His  “Rembrandt”  (1853)  and  a bust  of  R.  P.  Ventura 
de  Raulica  are  at  the  Luxembourg. 

Olivi^  Leon.  (Er.)  Born  at  Narbonne.  Medal  in  1876.  Pupil 
of  Coedes  and  Cogniet.  At  the  Salon  of  1876  he  exhibited  “The 
Question  ” and  “ A Fisherman  of  the  Seine.” 

O’Neil,  Henry,  A.  R.  A.  (Brit.)  Bom  in  St.  Petersburg,  1817. 
Taken  to  England  as  a child,  he  displayed  a taste  for  art,  and  entered 
the  Royal  Academy  in  1867.  He  exhibited  his  first  picture  two  years 
later,  since  contributing  regularly  to  the  exhibitions  of  the  Academy. 
His  “ Eastward  Ho,”  in  1858,  and  (the  companion  picture)  “ Home 
Again,”  in  1859,  attracted  great  attention  in  England,  and  brought 
him  into  prominent  notice  as  an  artist.  Both  were  engraved.  Among 
the  better  known  of  O’Neil’s  earlier  works  are,  “ The  Last  Moments 
of  Mozart,”  “ Queen  Catherine’s  Dream,”  “ The  Return  of  the  Wan- 
derer,” and  “Ruth  and  Naomi”  (which  belonged  to  Prince  Albert). 
In  1860  (when  he  was  elected  an  Associate  of  the  Royal  Academy)  he 
contributed  “ The  Shipwreck  ” ; in  1861,  “ The  Parting  Cheer”  ; in 
1862,  “ Mary  Stuart’s  Farewell  to  France  ” ; in  1863,  “ The  Power  of 
Music  ” ; in  1864.  “The  Landing  of  the  Princess  of  Wales  at  Graves- 
end ” ; in  1866,  “ The  Last  Moments  of  Raffaelle  ” ; in  1868,  “Before 
Waterloo”  ; in  1872,  “Rebecca  and  Ivanhoe”  ; in  1873,  “Tintoretto 
painting  his  Dead  Daughter  ” ; in  1874,  “ The  Path  through  the 
Glen  ” ; in  1875,  “ An  Incident  of  the  Plague  of  London  ” ; in  1876, 
several  bits  of  Scottish  landscape  ; in  1877,  “ Shakspere  reading  ‘A 
Midsummer  Night’s  Dream  ’ to  Queen  Elizabeth”;  in  1878,  “Loch 
Leven,  1568  ” and  “ Catherine’s  Dream.”  Many  of  the  above  have 
been  engraved.  To  the  Philadelphia  Exhibition  of  1876  he  sent  “A 
Volunteer.” 

O’Neil,  G.  B.  (Brit.)  A resident  of  London.  He  paints  genre 
subjects,  which  appeal  to  the  popular  taste.  He  first  exhibited  at  the 
Royal  Academ}'  in  1851,  and  continues  to  send  pictures  there  regu- 
larly. Among  his  earlier  works  may  be  mentioned,  “ A Hearty  Wei- 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  155 


come,”  “ A Statute  Fair,”  “ The  Rival  Musicians,”  “ A Favorite 
Tune,”  etc.  To  the  Royal  Academy,  in  1868,  he  sent  “Why  so 
late  ? ” ; in  1869,  “ New  Shoes  ” ; in  1871,  “ The  Children’s  Party”  ; 
in  1872,  “Nestlings”  ; in  1873,  “Driving  a Pair”  ; in  1874,  “A 
Little  Better”  ; in  1875,  “Sympathy”;  in  1876,  “ Our  Boys  ” ; in 
1877,  “ The  Father  of  the  Regiment  ” ; in  1878,  “ Reaping  Time.” 
One  of  his  first  works  which  attracted  public  attention,  “ The  Found- 
ling ” (R.  A.,  1852),  bequeathed  by  Jacob  Bell,  is  now  in  the  National 
Gallery,  London.  Many  of  his  pictures  have  been  engraved. 

Orchardson,  William  Q.,  A.  R.  A.  (Brit.')  Born  in  Edinburgh 
in  1835,  and  educated  there  at  the  Trustees  Academy.  He  painted 
portraits  in  his  native  city  for  a few  years,  exhibiting  at  the  Royal 
Scottish  Academy.  In  1863  he  removed  to  London,  where  he  still 
resides,  and  sent  to  the  Royal  Academy,  the  same  year,  “ An  Old 
English  Song  ” ; in  1864,  “ Flowers  of  the  Forest  ” ; in  1865,  “ Ham- 
let and  Ophelia  ” ; in  1866,  “ Story  of  a Life  ” ; in  1867,  “ Talbot 
and  the  Countess  of  Auvergne”  ; in  1868  (when  he  was  elected  an 
Associate  of  the  Royal  Academy),  a “Scene  from  Shakspere’s  Llenry 
IV.”;  in  1869,  “The  Duke’s  Antechamber”;  in  1871,  “On  the 
Grand  Canal”  and  “An  Hundred  Years  Ago”;  in  1872,  “Casus 
Belli  ” and  “ The  Forest  Pet  ” ; in  1873,  “ Cinderella  ” and  “ The 
Protector  ” ; in  1874,  “ Hamlet  and  the  King  ” and  “ Ophelia  ” ; in 

1875,  “ Too  Good  to  be  True”  and  “ Moonlight  on  the  Lagoons  ” ; in 

1876,  “The  Bill  of  Sale”  and  “Flotsam  and  Jetsam”;  in  1877,  “The 
Queen  of  the  Swords”  and  “ Jessica  ” ; in  1878,  “A  Social  Eddy  ” and 
“ Autumn.” 

Among  Orchardson’s  other  works  are,  “ Peggy,”  a scene  from  “ The 
Gentle  Shepherd  ” (Brit.  Inst.,  1863),  “ The  Challenge  ” (Paris  Expo- 
sition, 1867),  “ Christopher  Sly,”  “Choosing  a Weapon,”  “ The  Vir- 
tuoso,” “ The  Salutation,”  etc.  He  sent  to  Philadelphia,  in  1876, 
“ Prince  Henry,  Poins,  and  Falstaff,”  and  “ Moonlight  on  the  La- 
goons, Venice  ”;  to  Paris,  in  1878,  “ The  Queen  of  the  Swords,”  “ The 
Bill  of  Sale,”  “ Escaped,”  and  “ The  Duke’s  Antechamber.” 

“ Orchardson  is  an  artist  of  more  tlian  ordinary  merit.’’  — Benjamin's  Contemporary 
Art  ill  Europe. 

“ Wc  look  with  somewhat  mixed  feelings  on  what  may,  we  suppose,  he  termed  the 
rising  school  of  English  and  Scottish  incident  jiainters.  Among  the  latter  Mr.  Orchard- 
son  has  at  present  the  air  of  losing  ground  ; the  less  promising  qualities  in  his  work 
of  the  last  two  years  liaving  obtained  in  1865  a certain  prominence  over  the  merits  visible 
in  his  earlier  jiroductions.  His  ‘ Hamlet  and  Ophelia  ’ has  many  clever  points,  and  the 
scene  has  been  properly  imagined  as  off  the  stage,  but  we  do  not  gain  so  much  as  might 
have  been  expected  ; the  two  heads,  especially  Ophelia’s,  being  poor  and  unsatisfac- 
tory in  character.”  — Palgrave’s  Essays  on  Art. 

“ ‘ Two  Skye-Terriers  ’ fR.  A.,  1S73],  by  Orchardson,  are  admirably  painted.  To  each 
dog  is  given  a definition  of  character  which  is  remarkably  impressive.  This  is,  we  be- 
lieve, the  only  animal  picture  by  this  painter  tliat  has  been  exhibited  in  the  Royal 
Academy.  It  is  not  easy  to  determine  whether  he  deals  more  favorably  with  animal  or 
human  expression.”  — London  Art  Journal,  June,  1873. 


156  AETISTS  OF  THE  NINETEENTH  CENTURY. 


Ordway,  Alfred.  {Am.)  A resident  of  Boston.  He  was  the 
founder  of  the  Boston  Art  Club,  in  1854,  and  its  first  Secretary  and 
Treasurer,  its  President  in  1859,  and  the  Corresponding  Secretary  in 
1866.  From  1856  to  ’63  he  was  director  of  the  exhibitions  of  paint- 
ings at  the  Boston  Athenaeum,  and  has  exhibited  regularly  at  the  Art 
Club.  His  pictures  are  owned  by  Mr.  Thomas  Wigglesworth  of 
Boston,  Colonel  Elliot  of  Baltimore,  and  other  collectors.  “ On 
Charles  River,”  “ Newton  Lower  Falls,”  and  “ Arline  ” were  at  the 
Mechanics’  Fair  in  Boston  in  1878. 

Osborn,  Miss  E.  M.  (Brit.)  Residing  in  London,  she  had  for 
some  years  also  a studio  in  Glasgow,  painting  portraits  and  occasional 
subject-picture.s.  Among  her  works  may  be  noted,  “ Olivia,”  at  the 
Glasgow  Loan  Exhibition  of  1878  ; and  “A  Golden  Day-Dream  ” and 
“ The  Cemetery  at  Mazorbo,  near  Venice,”  at  the  Royal  Academy, 
London,  in  1877. 

Oudin6,  Eugene-Andrd  (Fr.)  Born  at  Paris,  1810.  Chevalier 
of  the  Legion  of  Honor.  Pupil  of  Andre  Galle.  The  works  of  this 
sculptor  are  mostly  for  public  buildings,  fountains,  etc.,  and  are  ap- 
parently innumerable.  He  has  also  executed  a large  number  of  por- 
traits. At  the  Salon  of  1878  he  exhibited  a portrait  of  himself,  a 
bust  in  bronze. 

Oudinot,  Achille  Francois.  (Fr.)  Born  at  Damigny  (Ome), 
1820.  Pupil  of  Huyot  in  architecture,  and  of  Corot  in  painting. 
After  visiting  Italy,  from  which  country  he  brought  many  water- 
color  sketches,  his  vocation  for  painting  seemed  too  prononce  to  be 
disregarded,  and,  although  he  has  since  done  considerable  work  as  an 
architect,  it  is  as  a painter  that  he  is  best  known.  He  has  also  occu- 
pied himself  as  a designer,  especially  for  the  “ Magasin  pittoresque,” 
and  has  painted  on  glass.  At  the  Exposition  of  1855  his  glass  paint- 
ings were  much  admired.  In  the  Art  Journal  of  January,  1876,  is 
the  following  : — 

“ At  tlie  exhibition  of  the  works  commanded  by  the  city  of  Paris  were  seen  five  large 
and  beautiful  glass  paintings,  executed  by  Oudinot,  which  are  placed  on  the  chevet  of 
the  church  of  Saint-Jacques  du  Haut-Pas,  where  tliey  make  the  best  effect.  It  is  to  be 
remarked  tliat  they  are  painted  in  black  and  wliite  on  a ground  of  mosaic  of  gold.  It 
has  a happy  effect,  at  the  same  time  that  it  is  a progress.  M.  Oudinot  is  now  occupied 
in  the  restoration  of  the  glass  of  Jean  Cousin,  at  the  Sainte-Chapelle  at  Vincennes.” 

Oudinot  also  placed  himself  in  relations  with  some  master-builders, 
and  was  charged  with  the  erection  of  houses  in  Paris,  a hotel  at  Passy 
in  the  style  of  Louis  XIIL,  and  with  numerous  country-houses, 
among  which  was  that  of  the  late  artist  Daubigny,  near  I’lsle-Adam. 
During  the  year  1877  Oudinot  took  up  his  residence  at  Boston,  and 
carried  to  the  United  States  a large  number  of  iiictures,  some  of  which 
have  been  exhibited  in  Boston  art  galleries  and  exhibitions.  One 
of  these,  which  wonderfully  represents  a storm  of  wind,  was  pur- 
chased by  Mr.  D.  Waldo  Lincoln  of  Worcester.  Others  have  been 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  157 


bought  by  Mr.  T.  G.  Appleton,  Mr.  G.  B.  Richmond,  Mr.  Wig- 
gles worth,  and  others.  His  subjects  are  varied.  His  landscapes 
present  to  us  many  of  the  characteristic  features  of  French  country 
scenes,  — thatched  cottages,  wooded  paths,  meadows  and  streams, 
are  reproduced  with  the  varied  effects  of  shining  and  lowering 
skies,  with  a charm  which  written  words  can  scarcely  tell,  — certainly 
not  in  the  space  here  allotted  us.  His  picture  of  “ Dunes  at  Dun- 
querque  ” has  been  much  admired. 

“ Oudinot  was  long  a favorite  pupil  of  Corot,  and  shows  in  his  works  very  distinctly 
the  influence  of  that  master  on  his  manner.  While  he  is  versatile,  his  most  successful 
labors  are  landscapes.  These  are  usually  at  once  rich  in  coloring  and  imaginative  in 
temper  and  quiet  Of  the  pictures  by  him  recently  exhibited  those  were  most  at- 
tractive which  represented  pastoral  scenes.  Several  were  marine  views,  however,  and 
one,  representing  a land  storm,  i)roveil  that  the  painter  is  capable  of  imaginative  work 
of  a high  order.”  — Art  Journal,  December,  1877. 

Ouless,  Walter  William,  A.  R.  A.  {Brit.)  Born  at  St.  Heller, s, 
Jersey,  1848.  Educated  in  the  Royal  Academy,  he  has  devoted  him- 
self to  portrait-painting,  spending  his  professional  life  in  London. 
He  has  exhibited  at  the  Royal  Academy  since  1873,  and  was  elected 
an  Associate  of  that  institution  in  1877.  Among  the  better  known 
and  more  successful  of  his  portraits  have  been  those  of  Lord  Selborne, 
Lord  Justice  Amphlett,  Charles  Darwin,  Admiral  Sir  Alexander 
Milner,  Hon.  E.  P.  Bouverie,  Hon.  Russell  Gurney,  etc. 

Few  artists  of  greater  promise  in  his  line  can  be  found  than  W.  W.  Ouless.  His 
texture,  handling,  and  coloring  are  of  the  first  order.”  — Benjamin’s  Contemporary  Art 
in  Europe. 

” ‘The  Mayor  of  Newcastle,’  by  Ouless,  is  an  agreeable  and  vigorous  portrait,  highly 
creditable  to  the  painter,  and  honorable  to  its  subject  and  to  its  possessors.  Mr.  Ouless 
has  adopted  from  Mr.  Millais  what  was  deserving  of  imitation,  and  has  used  the  skill  he 
has  learned  to  better  ends.  All  his  portraits  are  vigorous  and  interesting.”  — Ruskin’s 
Notes  of  the  Academy,  1875. 

‘‘Mr.  Ouless*  jiortraits  have  vast  merit.  Painted  with  equal  firmness  and  freedom, 
they  are  invariably  life-like  and  expressive,  and  display  a general  grace  and  brilliancy  of 
treatment,  which  imparts  to  them  a distinctive  and  resistless  charm." — London  Morn- 
ing Post,  May,  1877. 

Ouvrid,  Pierre  Justin.  (FV.)  Born  at  Paris,  1810.  Chevalier  of 
the  Legion  of  Honor.  Pupil  of  Abel  de  Pujol  and  Chatillon.  His 
picture  of  the  “Oval  Court  of  the  C.astle  of  Fontainebleau”  (1840) 
and  “ The  Monument  to  Walter  Scott  at  Edinburgh”  (1863)  are  at 
the  Luxembourg.  The  pictm’es  of  this  artist  are  numerous,  and  his 
works  varied.  He  paints  in  both  oil  and  water  colors,  and  makes 
lithographs. 

Overbeck,  Friedrich.  {Ger.)  Born  at  Lubeck  (1789-1869). 
Associate  Member  of  the  Institute  of  France.  After  some  preliminary 
studies  this  artist  settled  in  Rome  in  1810,  and  remained  there  during 
his  life.  He  became  a Roman  Catholic,  and  laid  down  as  the  funda- 
mental principle  of  his  art,  that  it  existed  only  for  the  service  of  re- 
ligion. He  drew  about  him  many  disciples,  who  with  him  under- 


158  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


took  to  accomplish  the  regeneration  of  painting.  He  became  known 
through  his  frescos  of  the  “ History  of  Joseph,”  at  the  villa  of  the 
Consul-Oeneral  of  Prussia,  and  “Jerusalem  Delivered,”  at  Villa  Mas- 
simi,  in  which  works  he  was  assisted  by  his  brother  artists  and  pupils. 
The  “ Miracle  of  the  Rose,”  in  the  church  of  Saint  Agnes  at  Assisi, 
was  almost  entirely  the  work  of  Overbeck.  Among  his  oil-picture.s 
are,  “The  Entrance  of  Christ  into  Jerusalem,”  at  the  church  of  Xotre- 
Dame  in  Lubeck  ; “ Christ  on  the  Mount  of  Olives,”  at  Hamburg  ; 
the  “ Marriage  of  the  Virgin  ” ; several  Holy  Families  ; the  “ Death 
of  Saint  Joseph”;  etc.  Many  engravings  have  been  made  after 
the  works  of  Overbeck,  and  for  a time  his  “ new  departure  ” in 
painting  was  much  talked  of,  and  he  apparently  had  great  influence. 
His  pupils,  as  they  returned  to  Germany,  were  employed  in  the  deco- 
ration of  churches  and  chapels,  and  these  remain  to  show  the  fruit 
of  his  influence  and  doctrines.  The  chef-d’ceuvre  of  this  painter  is 
the  “ Triumph  of  Religion  in  the  Arts,”  which  is  at  the  Staedel  In- 
stitute in  Frankfort.  At  the  National  Gallery,  Berlin,  is  his  “ Jeru- 
salem Delivered.” 

" The  world  of  modem  Gennan  art,  as  that  of  old,  divides  itself  into  two  hemispheres  ; 
Overheck  rules  as  the  modem  Raphael  over  one:  Cornelius,  as  a German  Michael  Angelo, 
hears  iron  sway  over  the  other.  Overherk  is  the  St.  John  which  leaut  in  love  on  the 
bosom  of  our  Lord  : Cornelius  is  St.  Peter,  strong  as  a rock  on  which  to  build  the 
Church.  And  as  with  Michael  Angelo  followei-s  were  wanting,  so  with  Cornelius  he 
walks  in  that  tcrribilc  via  wherein  few  can  venture  to  tread.  The  lot  of  Overbeck  is  more 
blessed.  Like  to  Raphael,  his  forerunner,  he  draws  by  love  all  men  unto  him  ; near  to 
him,  through  fellowship  of  endearing  sympathy,  warmed  by  the  emotion  which  beauty, 
akin  to  goodness,  in  the  universal  heart  begets.  ....  Among  the  oil-paintings  of  Overbeck, 
‘ The  Triumph  of  Religion  in  the  Arts,’  one  of  the  choicest  treasures  in  the  Stiidel  Institute, 
Frankfort,  is  certainly  the  most  elaborate  and  ambitious.  This  grand  composition, 
which  may  be  likened  in  its  intent  to  Raphael’s  ‘ School  of  .Athens,’  or  to  the  ’ Hemi- 
cycle  ’ by  Delaroche,  has  been  aptly  termed  by  German  critic.s,  ‘ The  Christian  Parnas- 
sus,’ the  dawn  of  light  in  Europe.  I wish  that  space  were  left  for  detailed  description 
of  this  work,  weighty  in  thought,  and  loaded  with  symbolism,  — a work  meant  as  a dec- 
laration of  faith,  the  programme  of  a creed,  preaching  to  the  world  a homily.  Yet 
while  pondering  on  this  jiicture  well  worthy  of  veneration.  1 could  not  but  regret  once 
more,  that  Overbeck,  in  maturing  his  pictorial  thoughts,  had  not  shown  like  diligence 
in  the  perfecting  of  the  material  instruments,  through  which  alone  ideas  can  be.  made 
visible.  In  the  remembrance  of  the  heavenly  harmonies  of  Angelico  and  Perugino,  it 
is  hard  to  forgive  even  a spiritual  artist  for  crudeness  of  tone,  and  for  the  use  of  colors 
which  are  of  the  earth  earthy.  In  the  recollection  of  Italian  pictures,  lovely  in  all  per- 
fections, it  is  not  easy  to  bestow  unqualified  .admiration  on  figures  which,  whatever  be 
their  Christian  graces,  are  severe  in  outline,  ungainly  in  form,  and  feeble  in  bodily  frame. 
Such  defects,  however,  may  be  perchance  but  motes  that  darken  the  sunbeam  ; they  are, 
perhaps,  but  the  vapora  of  earth  which  the  light  of  heaven  has  struggled  in  vain  to 
dispel.”  — J.  Beavington  Atkinson,  Art  Journal.  Februarj-,  1S65. 

” There  is  also  a conservative  religious  school  illustrated  by  Overbeck,  and  an  eclectic 
one  by  Cornelius  and  Kaulbach,  who  thought  to  rec.ast  the  art  of  the  nineteenth  cen- 
tury in  old  molds,  and  with  about  as  much  permanent  success  as  a new  order  of  Stylites 
miglit  expect.  These  artists  are  ambitious,  learned,  sincere,  and  skillful.  But  the  com- 
mon people  wonder,  shake  their  heads,  and  straightway  forgetting  the  big  paintings 
compounded  of  defunct  foreign  systems  and  feelings,  pass  on  to  admire  the  easel  repre- 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  159 


sciitaiions  of  things  familial’ and  domcHtic.  Modem  democratic  taste,  right  or  wrong, 
will  not  tolerate  asceticism,  allegory,  religious  or  classical  idealism,  mysticism,  roman- 
ticism, or  other  passion  of  the  past,  while  it  can  command  a plentiful  supply  of  its  own 
loved  naturalism.  Its  idols  must  talk  its  own  tongue,  and  have  a fellow-feeljug.  Democ- 
racy has  hit  the  right  path  for  a more  wholesome  art  of  its  own  than  aristocracy  ever 
worked  out  for  itself.  Believe,  and  then  be  baptized.  The  habit  of  cliurch  or  state  is 
to  baptize  first,  leaving  the  neophyte  to  believe  if  he  can,  disbelieve  if  he  dare.”  — 
Jarves,  Art  Thoughts. 

Pabst,  Camille  Alfred.  (Fr.)  Born  at  Heiteren.  Medal  at 
Paris  in  1874.  Medal  at  Philadelphia.  Pupil  of  Comte.  At  Phila- 
delphia he  exhibited  “ The  Alsatian  Bride,”  and  at  the  Paris  Salon  of 
1877,  “ The  Cradle”  and  “ The  Album  of  the  War  and  in  1878,  “An 
Apothecary  in  Alsace  ” and  “A  Corner  of  my  Atelier.” 

Page,  William,  N.  A.  (Am.)  Born  in  Albany,  N.  Y.,  1811.  Re- 
moved in  1820  with  his  family  to  New  York  City.  Was  a pupil  in 
the  classical  school  of  Joseph  Hoxie.  At  the  age  of  eleven  he  gained 
a premium  from  the  American  Institute  for  an  india-ink  drawing. 
He  entered  the  law  office  of  Frederick  De  Peyster  when  quite  a young 
man,  but  soon  devoted  himself  entirely  to  art,  studying  under  Pro- 
fessor Morse,  and  in  the  schools  of  the  National  Academy.  In  1828 
and  ’29  he  painted  portraits  in  Albany.  Again  settled  in  New  York, 
and,  later,  opened  a studio  in  Boston,  where  he  remained  until  he  went 
abroad.  For  many  years  he  was  considered  the  leading  American  por- 
trait-painter in  Rome.  He  was  made  a full  member  of  the  National 
Academy  in  1836.  Among  Page’s  earlier  works  are  a “ Holy  Family  ” 
(belonging  to  the  Boston  Athenaeum),  “ The  Infancy  of  Henry  IV.,” 
and  a portrait  of  Governor  Marcy  (the  last  in  the  City  Hall,  New 
York).  In  1868  he  sent  to  the  National  Academy  portraits  of  Robert 
B.  Minturnand  Mrs.  Theodore  Tilton;  in  1869,  Henry  Ward  Beecher 
(belonging  to  Theodore  Tilton);  in  1870,  Governor  Fenton  (belonging 
to  the  city  of  New  York);  in  1874,  Col.  R.  G.  Shaw.  His  “An- 
tique Timbrel-Player”  was  in  the  National  Academy  in  1871;  “Far- 
ragut’s  Triumphant  Entry  into  Mobile  Bay,”  in  1872  ; “Shakspere,” 
in  1874;  and  “ Shakspere,  from  the  German  Death  Mask,”  in  1876. 

Among  his  other  works  may  be  mentioned,  “ Ruth  and  Naomi  ” (in 
the  possession  of  the  New  York  Historical  Society),  “Moses,”  “ Ruth,” 
“ Venus,”  and  portraits  of  Robert  Browning,  and  Charlotte  Cushman. 
A head  of  Christ,  painted  by  Page  for  Theodore  Tilton,  and  exhibited 
at  the  National  Academy  and  elsewhere,  attracted  much  attention. 
The  lectures  which  this  artist  delivered  at  the  National  Academy 
were  fine,  and  much  valued  by  the  students  who  listened  to  them. 
A number  of  Page’s  pictures  were  on  exhibition  in  New  York  in 
the  winter  of  1877,  including  his  bust  and  full-length  portrait  of 
Shakspere,  his  copy  of  Titian’s  “ Venus,”  and  his  own  “ Venus,” 
painted  in  Rome  in  1859,  and  exhibited  in  London  in  1860  and  in 
New  York  in  1867.  Mr.  Page  has  for  some  years  occupied  a studio 
in  New  York. 


IGO  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


“ There  is  much  in  Page  to  command  respect  He  experiments  boldly  in  pursuit  of 
the  combined  splendor  and  imrity  of  Titian,  thinks  profoundly,  reasons  plausibly,  and 
always  essays  high  art.  Ever  ready  to  confound  or  convince,  he  surprises,  delights, 
confuses,  and  disappoints  all  at  once.  Some  of  his  portraits  exhibit  nice  discrimination 
of  character,  while  his  ideal  works,  notwithstanding  faults  of  grammar  and  much  want 
of  good  taste,  when  he  departs  from  direct  copying,  have  something  grand  in  suggestion, 
showing  familiarity  with  great  work.”  — Jarves,  Art  Idea. 

“Of  all  the  American  portrait-painters.  Page  is  the  most  originally  experimental ; he 
has  studied  his  art  in  theory  as  well  as  practice He  seems  to  unite  the  conserva- 

tive instincts  of  the  old-world  artists  with  the  bold  experimental  ambition  of  the  young 
Republic.”  — Tuckerman’s  Book  of  the  Artists. 

“ Page’s  portrait  of  President  Eliot  of  Harvard  College  [N.  A.,  1876]  is  in  many  re- 
spects the  finest  work  in  the  Exhibition.  It  is  a striking  likeness,  and  the  pose  is  emi- 
nently characteristic  of  the  man.  We  look  upon  this  work  as  the  highest  aim  in 
portraiture.  The  painting  is  solid,  the  drawing  firm,  and  every  detail  of  the  work  is 
finished  with  conscientious  care.”  — Art  Journal,  May,  1876. 

Falizzi,  Joseph.  (Ital.)  Born  at  Lanciano,  1813.  Chevalier  of 
the  Legion  of  Honor.  Pupil  of  the  Academy  of  Naples.  He  went  to 
Paris  in  1844.  He  paints  landscapes,  figures,  and  animals.  Naturally, 
with  such  endeavors,  some  things  must  he  good  and  some  bad.  It 
is  quite  necessary  to  choose  carefully  if  one  buys  a Palizzi.  At  the 
Salon  of  1877  he  e.xhibited  “Asses  in  a Forest”  and  “ Cows  in  a 
Pasture”  ; in  1876,  “ The  Return  from  the  Fair”  and  “The  Road  of 
San  Germano,  near  Mount  Cassin”  ; and  in  1875,  “An  Italian  Herds- 
man descending  the  Mountain  ivith  his  Sheep.”  His  “ Landscape 
with  Goats”  and  “A  Neapolitan  Boy”  belong  to  J.  H.  Weeks  of 
Boston. 

“Joseph  Palizzi  is  a Neapolitan,  naturalized  Frenchman,  even  a Parisian  by  his  mind, 
his  talent,  his  success.  1 know  few  artists  more  fruitful,  more  varied,  more  anxious  to 
attempt  painting  in  all  phases  ; he  goes  from  landscape  to  figures  : he  knows  animals  by 
heart : he  leaves  one  pocket  picture  in  the  size  and  finish  of  a miniature  to  undertake 
a grand  eanv.as  of  historic  dimensions.  At  times  he  throws  aside  his  palette  to  essay 
charcoal  and  water-colors.  He  is  a seeker  ; an  insatiable,  an  ambitious  man  in  the  best 
sense  of  the  word.  We  can  see  that  success  and  failure  (there  are  some  heights  and 
depths  in  his  history)  stimulate  him  equally.”  — Edmoxd  About,  Salon  d«lS64. 

Palmaroli,  Vicente.  (Span.)  A medal  at  the  Exposition  Univer- 
sal, Paris,  1867.  He  is  one  of  the  chief  painters  of  his  school,  and 
may  be  compared  with  Fortuny  in  certain  points,  and  with  !Meissonier 
in  others.  Two  works  by  Palmaroli,  “ The  Listener  ” and  “ The  Con- 
noisseur,” are  in  the  collection  of  ilr.  Theron  R.  Butler,  New  York. 
When  his  picture  of  “ The-  Sermon  in  the  Sistine  Chapel  ” was  on  ex- 
hibition it  attracted  much  attention.  The  following  extract  from  a 
M'riter  in  the  “ Gazette  des  Beaux- Arts  ” relates  to  this  work  : — 

“ Since  the  first  day  of  the  Exposition  the  critics,  whose  enthusiasm  was  immediately 
excited,  group  themselves  eagerly  before  the  ‘ Sermon  in  the  Sistine  Chapel.’  It  is  be- 
cause one  is  always  attracted  by  works  in  which  effect  and  style  are  in  unity.  The  pic- 
ture of  Palmaroli  has  this  merit : it  is  harmonious,  it  is  tranquil,  it  is  sober,  and,  more- 
over, adequately  colored  ; the  reds,  the  blacks,  the  whites,  the  browns,  are  so  marvel- 
ously mingled  that  this  flourish  of  trumpets  (in  color)  does  not  cover  up  the  monotonous 
voice  of  the  preacher.  What  is  wanting  in  this  jiicture  (but  in  so  small  a me.asure  that 
perhaiis  I ought  not  to  speak  of  it)  is  a more  marked  character  in  the  physiognomies  of 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  IGl 


the  personages.  It  seems  that  such  an  artist  as  might  he  named  — Meissonier,  for  ex- 
ample— would  have  biirine  v/itli  more  incisive  traits  tlie  faces  of  the  cardinals  and 
archbishops.  But  what  we  say  ought  not  to  hinder  the  sympathy  which  is  awakened  by 
tlie  i)ietui’e  of  Palmaroli.  Even  after  the  ‘ Sistine  Cliapel  ’ of  Ingres,  this  work  is  excel- 
lent. ” 

Palmer,  Samuel.  {Brit.)  Bom  at  Walworth,  Surrey,  1805. 
He  studied  in  the  Antique  School  of  the  British  Museum  and  else- 
where, and  has  spent  his  professional  life  in  London  and  the  counties 
of  Kent  and  Surrey,  passing  two  years  in  study  and  observation  in 
Italy.  He  has  painted  in  oil  and  water  colors,  and  turned  his  atten- 
tion somewhat  to  etching.  About  1853  he  was  elected  a member  of 
the  Etching-Club  and  a full  member  of  the  Society  of  Painters  in 
Water-Colors.  Among  his  more  important  drawings  sent  to  the 
Water-Color  Exhibitions  in  different  seasons  are,  “ A Dream  on  the 
Apennine,”  in  1864  ; “ The  Ballad,”  in  1860  (belonging  to  F. 
Craven)  ; “ Pompeii  ” and  “ St.  Paul  landing  in  Italy,”  in  1868  ; 
“The  Fall  of  Empire,”  in  1871  ; “A  Golden  City,”  in  1873  ; draw- 
ings from  “ Comus,”  “ L’Aliegro,”  and  “11  Penseroso,”  and  “Tityrus 
restored  to  his  Patrimony,”  in  1877  ; etc. 

“ Palmer’s  studies  of  foliage  are  beyond  all  praise  for  carefulness.  I have  never  seen 
a stone'i>ine  or  a cypress  drawn  except  by  him,  and  his  feeling  is  as  pure  and  grand  as 
his  fidelity  is  exemplary.  I look  to  him,  unless  -he  loses  himself  in  over-reverence  for 
certain  conventionalisms  of  the  elder  schools,  as  one  of  the  probable  renovators  and 
correctors  of  whatever  is  failing  and  erroneous  in  the  practice  of  English  art.”  — Ruskin’s 
Modern  Painters. 

**  Samuel  Palmer  is  one  of  the  few  really  great  English  etchers,  but  as  it  results  from 
the  nature  of  his  work  that  each  plate  of  his  is  very  costly  in  time,  and  as  he  happens 
to  be  a very  successful  painter  in  water-colors,  the  consequence  is  that  his  production 
in  etching  has  been  extremely  limited If  ever  a true  appreciation  of  art  shall  be- 

come general  among  our  descendants,  they  will  wonder  how  it  is  possible  that  Samuel 
Palmer,  to  whom  was  given  genius  and  length  of  days,  and  who  in  his  time,  as  they 
will  see,  was  one  of  the  most  accomplished  etchers  who  ever  lived,  should  have  left 
behind  him  just  half  a dozen  plates.”  — Hamerton’s  Etching  and  Etchers, 

Palmer,  Erastus  D.  (Am.)  Born  in  Onondagwa  County,  N.  Y., 
1817.  He  lived  in  Utica,  N.  Y.,  for  many  years,  following  his  trade, 
that  of  a carpenter.  In  1846  he  settled  in  Albany,  and  began  his 
professional  career  as  a cutter  of  cameos,  pursuing  this  branch  of  his 
art  with  decided  success  until  1852,  when  he  executed  his  first  im- 
portant piece  of  sculpture,  “ The  Infant  Ceres,”  which  was  exhibited 
at  the  National  Academy  in  New  York,  and  attracted  much  atten- 
tion. “ Ceres  ” was  followed  by  “ The  Morning  Star,”  “ The  Evening 
Star,”  and  other  subjects  in  bas-relief.  Among  his  ideal  busts  are, 
“ Spring,”  “ Resignation,”  etc.  His  first  full-length  figure  was  the 
“ Indian  Girl,”  followed  by  the  “ White  Captive,”  “ Faith,”  “ The 
Emigrant’s  Children,”  and  “ Peace  in  Bondage.”  Among  his  other 
works  are,  “ The  Little  Peasant,”  “ The  Sleeping  Peri,”  and  “ The 
Infant  Flora.”  He  has  executed  portrait  busts  of  Moses  Taylor, 
Alexander  Hamilton  (belonging  to  Hamilton  Fish),  Erastus  Corning, 
Governor  Morgan,  Commodore  Perry,  and  other  prominent  men. 

’ K 


IG2  ARTISTS  OF  THE  NIA’ETEENTH  CENTURY. 


His  “Disappointment,”  at  the  Johnston  sale,  in  1876,  brought 
$ 660.  His  bronze  statue  of  Robert  Livingston  was  at  the  Phil- 
adelphia Centennial  Exhibition  of  1876,  and  was  “ commended  for 
artistic  excellence,”  receiving  a medal. 

Mr.  Palmer’s  professional  life  has  been  spent  in  Albany.  He  made 
his  first  visit  to  Europe  in  1874,  observing  and  studying  the  masters, 
ancient  and  modern,  in  the  different  art  centers  of  the  Continent,  and 
working  for  some  time  in  Paris. 

“ Palmer’s  cameo-cutting  was  bold,  distinct,  nnevasive  : some  of  his  works  in  that 
line  are  perfect  gems,  and  far  more  satisfactory  than  most  of  the  cameo  portraits  for 

whicli  travelers  pay  such  exorbitant  prices  in  Rome ‘ Ceres  ’ was  idealize<l  with 

strict  regard  to  Nature  as  a basis.  The  exquisite  contour  and  sublimated  infantile  ex- 
pression of  the  bust  attracted  a crowd  of  delighted  gazers.  The  conception  proved  a 
remarkable  ej’e  for  beauty,  while  the  finish  indicated  an  exactitude  and  refinement  of 
chiseling.”  — Tuckerman’s  Book  of  the  Artists. 

” Undoubtedly  Palmer  has  a poetic,  versatile  mind.  ....  His  favorite  mode  of  ex- 
pression is  allegory  or  symbolism.  Aiming  at  original  invention,  he  has  attained 
a style  peculiar  to  himself.  ....  Perhaps  his  finest  conception  is  the  * Indian 
Maiden  finding  the  Cross  in  the  Wilderness.’  It  is  simple  and  suggestive,  the  figure  of 
the  maiden  being  far  more  refined  than  his  white  women.  ‘ The  Ambush  Chief  ’ is 
forcible  and  natural.  *The  Peri,’  ‘ Spirits’  Flight,*  ‘Peace  in  Bondage,’  ‘Resignation,’ 
‘Morning,*  ‘Evening,’  ‘ Meinoiy,*  mostly  medallions,  although  somewhat  capriciously 
baptized,  manifest  the  varied  idealism  of  his  thought.”  — Jabves,  Art  Idea. 

‘‘While  noting  how  thoroughly  American  the  fine  head  of  this  angel  is  [ ‘The  Angel 
at  the  Sepulcher’],  we  are  also  bound  to  note  that  both  in  face  and  figure  he  is 
of  a very  fleshy  and  unangelical  type.  Indeed,  Palmer  has  always  shown  a singular 
preference  for  phlegmatic  modes,  and  his  two  most  important  studies  from  the  nude, 

‘ The  White  Captive  * and  ‘The  Indian  Girl,’  are  lacking  in  precisely  that  Utheness 
which  is  one  of  the  chief  charms  of  the  best  antique  representations  of  the  nude  human 
figure.  Both  of  these  statues,  however,  have  very  admirable  qualities.”  — Great  Ameri- 
can Sculptors. 

Palmer,  Walter  L.  (Am.)  Native  of  Albany,  N.  Y.  Son  of 
Erastus  D.  Palmer.  He  studied  in  Paris,  returning  to  New  York, 
where  he  opened  a studio  in  1877,  devoting  himself  to  landscape-paint- 
ing. He  sent  to  the  National  Academy,  in  1878,  “An  Interior”  (be- 
longing to  H.  G.  De  Fotest)  and  “ Montigny-sur-Loing.” 

“ An  ‘ Interior  ’ with  figures  is  one  of  the  brightest  things  in  the  room  [Union  League 
Club,  1S78].  Mr.  Palmer’s  sense  of  light  and  color  is  acute,  and  he  has  made  more  than 
a faithful  transcription  in  his  choice  of  characteristic  accessories,  and  in  the  admirably 
introduced  young  gentlewoman  who  gives  to  the  scene  a profoundly  human  interest.”  — 
New  York  Evening  Post,  March  15,  1878. 

Pampaloni,  Luigi.  (Ital.)  Born  at  Florence  (1791  - 1847).  Pro- 
fessor in  the  -Academy  of  Florence.  In  1827  he  first  attracted  atten- 
tion by  a group  made  for  a Polish  lady,  — a monument,  which 
represented  a little  girl  sleeping,  and  a boy  kneeling  by  her  side  with 
upturned  face  and  clasped  hands.  The  figure  of  the.  boy,  under  the 
name  of  the  “ Praying  Samuel,”  became  popular  the  world  over.  It 
was  also  called  the  “ Orph.an,”  and  as  it  appeared  at  about  the  same 
time  with  the  engraving  of  the  Duke  of  Reichstadt  in  the  same  atti- 
tude, it  added  to  its  popularity  in  some  quarters,  where  it  was  believed 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  163 


that  Pampaloni  had  the  son  of  Napoleon  in  mind.  The  plaster  copies 
were  sold  in  immense  numbers.  He  made  several  other  similar  rep- 
resentations of  children,  but  the  majestic  figures  of  Arnolfo  dei  Lapi 
and  Brunelleschi  on  the  eastern  side  of  the  Cathedral  at  Florence  show 
more  fully  the  talent  of  this  sculptor.  He  modeled  the  Leonardo  of 
the  loggia  of  the  Uffizi,  and  made  the  colossal  Pietro  Leopoldo  at 
Pisa,  and  that  of  the  poet  Papi  at  Lucca. 

Pape,  Eduard  Friedrich.  {Ger.)  Bom  at  Berlin,  1817.  Mem- 
ber of  the  Berlin  Academy  and  Professor  there,  where  he  also  studied 
as  well  as  under  Gerst.  His  principal  works  are  landscapes  and 
decorative  paintings,  of  which  there  are  a number  in  the  new  Museum 
at  Berlin.  He  frequently  chooses  scenes  in  which  there  are  water- 
falls. At  the  National  Gallery,  Berlin,  are,  “ The  Rhine-Fall  at  Schaff- 
hausen  ” and  “ Erl-Gletscher  auf  Handeck.”  At  Berlin,  in  1876,  he 
exhibited  “Lake  Maggiore,”  “A  Woody  Landscape,”  and  “Chiem- 
see.” 

Paris,  Camille.  (F?'.)  Born  at  Paris.  Medal  in  1874.  Pupil 
of  Picot  and  A.  Scheffer.  At  the  Salon  of  1876  he  exhibited  “The 
Temple  of  Neptune,  in  the  Latium.”  His  picture  of  1874,  “A  Bull 
of  the  Roman  Campagna,”  is  at  the  Luxembourg. 

Parker,  John  A.,  A.  N.  A.  (Am.)  Born  in  New  York,  1827. 
He  was  brought  up  to  commercial  pursuits  in  his  native  city.  He 
displayed  a marked  taste  for  art  as  a youth,  but  did  not  adopt  it  as 
a profession  until  1859,  when  his  first  picture  was  exhibited  at  the 
National  Academy,  New  York.  He  studied  from  nature  in  the  Cats- 
kills and  elsewhere,  and  has  spent  his  professional  life  in  Brooklyn, 
N.  Y.  He  was  one  of  the  original  members  of  the  Brooklyn  Art 
Association,  and  was  elected  an  Associate  of  the  National  Academy, 
New  York,  in  1864.  His  landscapes  are  in  the  possession  of  Dr.  Storrs, 
H.  E.  Pierrepont,  A.  A.  Low,  Cyrus  Butler,  and  other  gentlemen. 
To  the  Centennial  Exhibition  at  Philadelphia,  in  1876,  he  sent  “ Twi- 
light in  the  Adirondacks,”  belonging  to  Charles  Baxter. 

“ A late  ‘Twilight,’  by  John  A.  Parker,  with  a pathway  through  a grove,  a herdsman 
and  cattle  in  the  foreground,  and  the  church-spire  showing  through  the  trees,  is  sugges- 
tive of  Gray’s  elegy.  The  artist’s  honesty  of  purpose  is  shown  in  the  tenderness  with 
which  the  several  varieties  of  foliage  are  suggested.  Every  leaf  is  an  effort  carefully 

painted The  sky  is  painted  in  rich  golden  tones,  and  against  it  is  shown,  in  delicate 

relief,  the  old  belfry  of  the  little  church,  and  the  interlaced  branches  of  the  trees.  Usu- 
ally very  little  drawing  is  shown  in  a landscape  picture,  but  in  this  it  rvas  required  in 
the  tree  branches,  and  consequently  there  is  a fine  display  of  it.”  — Brooklyn  Eagle,  De- 
cember, 1876. 

Parker,  Edgar.  (Am.)  Bora  in  Framingham,  Mass.,  1840.  Por- 
trait-painter. He  has  spent  his  professional  life  in  Boston,  and  has 
received  no  instruction  in  painting.  Three  of  his  portraits  are  in 
F.aneuil  Hall,  namely,  those  of  Charles  Sumner,  Henry  Wilson,  and 
Rear-Admiral  John  A.  Winslow.  He  has  also  painted  Hon.  Charles 
Hudson,  ex-Gov.  Onslow  Stearns  of  New  Hampshire,  Nathaniel  Haw- 


164  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


thorne,  etc.  William  and  Mary  Howitt  own  his  portrait  of  Margaret 
Foley.  Mr.  Whittier  gave  him  sittings  in  1875  for  a portrait,  which 
is  the  only  original  likeness  of  the  poet  in  existence  except  one,  painted 
when  he  was  a young  man,  by  Hoyt. 

Parmentier,  Luisa  von.  (Aus.)  Of  Vienna.  Medal  at  Phila- 
delphia, where  she  exhibited  “ Interior  of  the  Castle  Ruin,  Taufers, 
in  the  Tyrol”  and  “A  Landscape.”  John  F.  Weir,  in  his  report, 
says  : — 

“ In  landscape  Austria  did  not  exhibit  works  of  decided  merit ; perhaps  nothing  in 
this  brancli  of  art  was  more  pleasing  than  the  pictures  of  Luisa  von  Parmentier." 

Parrot,  Philippe.  (Fr.)  Born  at  Excideuil.  Medals  in  1868, 
’70,  and  ’72.  At  the  Salon  of  1877  he  exhibited  two  portraits  ; in 
1875,  “Judgment  of  Paris  ” and  two  portraits  ; in  1874,  “The  Foun- 
tain ” and  a portrait.  Among  his  other  works  are  “ Galatea  ” and 
numerous  portraits. 

Parsons,  Charles,  A.  N.  A.  {Am.)  Born  in  England,  1821.  He 
has  spent,  however,  the  better  part  of  his  life  in  the  city  of  New 
York,  studying  in  the  Xational  Academy  schools  and  from  nature  in 
the  vicinity  of  the  metropolis.  He  has  furnished  illustrations  for  nu- 
merous books,  magazines,  and  weekly  journals,  and  since  1862  has 
been  superintendent  of  the  Art  Department  of  the  publishing-house  of 
Harper  and  Brothers.  In  1860  he  was  elected  an  Associate  of  the  Na- 
tional Academy,  is  a member  of  the  Artists’  Fund  Society  and  of  the 
Society  of  Painters  in  Water-Colors,  contributing  occasionally  to  the 
exhibitions  of  the  Academy.  He  sent,  in  1876,  to  the  Water-Color 
Society,  “Salem”;  in  1877,  “November”  (belonging  to  J.  Henrj^ 
Harper) ; in  1878,  “Gravesend  Bay.” 

Parton,  Arthur,  A.  N.  A.  (Am.)  Born  at  Hudson,  N.  Y.,  1842. 
Pursued  his  art  studies  under  William  T.  Richards  of  Philadelphia, 
spending  his  professional  life  in  the  city  of  New  York.  He  went  to 
Europe  in  1869,  and  returned  to  America  the  next  j'ear.  He  is  a 
member  of  the  Artists’  Fund  Society,  and  was  elected  an  Associate  of 
the  National  Academy  in  1872.  Among  the  more  important  of  his 
works  are,  “ On  the  Road  to  Mount  Marcy,”  exhibited  at  the  National 
Academy  in  1874,  and  owned  by  Hon.  Charles  Farwell  of  Chicago, 
“A  Mountain  Brook,’’  at  the  National  Academy  in  1875  (purchased 
liy  A.  T.  Stewart),  now  in  the  Stewart  Gallery.  His  “ November  ” is 
owned  by  Lord  iMoncke,  formerly  Governor-General  of  Canada  ; his 
“ Sycamores  in  Old  Shokan  ” is  in  the  possession  of  Amherst  Col- 
lege ; “ Loch  Lomond”  is  owned  by  H.  P.  Cooper.  His  “Solitude” 
(belonging  to  W.  D.  Judson)  and  “ Stirling  Castle  ” (belonging  to 
Bryce  Gray)  were  at  the  Centennial  Exhibition  of  1876. 

“ Arthur  Parton,  who  is  one  of  our  youngest  landscape-painters,  is  finishing  a large 
study  from  nature  on  an  Adirondack  brook.  It  is  a work  of  rare  merit,  and  the  fidel- 
ity with  which  the  trees  of  the  forest  and  undergrowth  .are  painted  in  detail,  together 
with  the  running  water,  merits  the  highest  praise."  — Art  Journal,  April,  1S75. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  165 


“ The  very  name  — ‘ Mountain  Brook  ’ — suggests  to  the  imagination  just  what  it  is,  a 
quiet,  loneiy,  retired  spot,  among  the  recesses  of  a wooded  jiass  wliere  Nature  in  her 
wildest  mood  has  spread  out  her  giant  trees,  etc.  The  artist  has  imparted  to  the  scene 
tlie  ‘still  quiet’  which  seems  to  reign  overall,  and  the  ‘weirdness’  which  ever  attaches 
itself  to  Nature’s  forest  scenes.”  — New  York  Express,  June,  1875. 

Parton,  Ernest.  (Am.)  Born  in  Hudson,  N.  Y.,  1845.  Younger 
brother  of  Arthur  Parton,  in  whose  studio  he  spent  two  winters,  re- 
ceiving, however,  no  instruction  in  art  from  regular  masters  or  in 
any  schools.  He  was  elected  a member  of  the  Artists’  Fund  Society 
of  New  York  in  1873,  contributing  one  work  each  year  to  its  sales. 
In  1873  he  went  to  Europe  for  the  purpose  of  spending  a few  months 
in  Great  Britain,  but,  meeting  with  success  in  London,  he  has  since 
remained  there,  exhibiting  frequently  at  the  Koyal  Academy  and 
elsewhere.  In  1876  he  visited  the  Swiss  Lakes  and  Northern  Italy, 
making  many  sketches.  Among  his  most  important  works  are, 
“ Morning  Mist  ” (exhibited  in  New  York  in  1873  ; belonging  now  to 
Dr.  Lutkins  of  Jersey  City),  “ Papa’s  Lunch  ” (at  the  Boyal  Academy 
in  1876),  “The  Placid  Stream”  (R.  A.,  1876),  “Sunny  September” 
and  “The  Poet’s  Corner”  (R.  A.,  1877),  “ The  Silent  Pool,”  “ Reflec- 
tions,” “Au  bord  de  I’eau,”  “On  the  River  Loing  ” (R.  A.,  1878), 
“Near  Capel  Cruig,  North  Wales,”  “Borrowdale  Meadows,”  “The 
Valley  of  the  Derwent”  and  “The  High  Hall  Garden”  (R.  A.,  1877). 
The  last  was  purchased  by  the  Art  Union  of  London. 

Pasini,  Alberto.  (Ital.^  Born  at  Busseto.  Chevalier  of  the  Or- 
ders of  Saints  Maurice  and  Lazarus,  and  of  the  Legion  of  Honor. 
Officer  of  the  Orders  of  Turkey  and  Persia.  Honorary  Professor  of  the 
Academies  of  Parma  and  Turin.  Pupil  of  Ciceri.  His  pictures  are 
principally  of  Oriental  subjects.  There  were  eleven  of  them  at  the 
Paris  Exposition  of  1878,  and  at  the  Salon,  same  year,  he  exhibited 
“ Yechil  Turbe,  a Brousse  (Turkey  in  Asia),”  and  “ The  Door  of  a Khan 
at  Brousse.” 

Passini.  Ludwig.  (Aus.)  Born  at  Vienna,  1832.  Member  of  the 
Academies  ot  Berlin,  Vienna,  and  Venice.  Medals  at  Berlin,  Paris, 
and  Vienna.  Studied  at  the  Vienna  Academy,  under  Karl  Werner, 
and  in  Italy.  Spent  some  time  in  Venice  and  Rome,  and  settled  in 
Berlin  about  1864,  but  has  made  several  journeys  to  Italy.  He  is 
very  skillful  in  water-colors.  He  paints  architectural  and  ffenre  sub- 
jects, also  portraits.  In  the  National  Gallery  at  Berlin  is  a cartoon 
by  Passini  representing  the  “ Choir  Men  in  St.  Peter’s  at  Rome.”  His 
technique  is  perfect,  and  many  of  his  scenes  from  Roman  life  are  inter- 
esting. Among  his  works  are,  “A  Roman  Woman  with  an  Infant,” 
“ Prebendaries  in  the  Church,”  and  “ Penitence.”  At  the  Johnston 
sale.  New  York,  1876,  a water-color,  “ The  Monk  in  his  Cell”  (10  by 
8),  sold  for  $ 270.  At  the  Paris  Exposition,  1878,  he  exhibited  “ A 
Procession  at  Venice,”  “ A Bridge  at  Venice,”  and  “ A Public  Reader 
at  Chioggia.’’ 


1G6  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


“ Passini,  who  should  not  be  confounded  with  Pasini  of  Paris,  is  widely  and  justly  cele- 
brated as  a consummate  artist  in  water-color  rei)reseutations  of  Italian  life.”  — Ue>ja- 
min's  Contemporary  Art  in  Europe. 

Paton,  Sir  Noel.  (Brit.)  Joseph  Noel  Paton  wa.s  bom  in  Dunferm- 
line, Scotland,  1821.  He  was  the  son  of  a designer  of  patterns,  who 
gave  him  his  first  instruction  in  drawings.  He  was  subsequently  a 
pupil  of  the  Royal  Scottish  Academy  in  Edinburgh,  and  of  the  Royal 
Academy  in  London.  In  1845  he  received  from  the  Commissioners 
of  Decoration  of  Westminster  Hall  a prize  of  £ 200  for  his  cartoon, 
“ The  Spirit  of  Religion,”  and  in  1847  a prize  of  £300  for  his  “ Recon- 
ciliation of  Oberon  and  Titania.”  His  “■  Quarrel  of  Oberon  and  Ti- 
tania  ” was  jjurchased  by  the  Scottish  Academy  in  1849,  and  placed 
in  the  National  Gallery  in  Edinburgh,  at  a cost  of  £ 700.  Among 
his  works  may  be  mentioned,  “ Thomas  the  Rhymer  and  the  Queen 
of  Fairyland,”  “ The  Pursuit  of  Pleasure,”  “ Nicker  the  Soulle.ss,” 
“The  Bluidy  Tryste  ” (1858),  “The  Fairy  Raid”  (R.  A.,  1867), 
“ Caliban  ”(R.  A.,  1869),  “ In  Memoriam,”  and  “ Home  from  the  Cri- 
mea,” the  property  of  the  Queen,  and  exhibited  at  the  International 
Exhibition  in  1862,  engraved,  and  very  popular.  Paton  was  knighted 
in  1867,  upon  his  appointment  as  Queen’s  Limner  for  Scotland.  His 
“ Good  Shepherd  ” (belonging  to  the  Queen)  and  “ Caliban  listening 
to  the  Music  ” were  at  the  Paris  Exposition  of  1878. 

“ Paton  aims  always  at  a higher  province  of  art  than  the  common  class  of  incidents, 
and  his  jiictures  arc  full  of  minute  detail,  not  only  natural,  which  he  i>aints  with  great 
delicacy,  but  of  that  antiquarian  character  which  cannot  be  obtained  without  pains  and 
study.  All  this  makes  us  regret  that  Mr.  Paton  persists  in  attempting  subjects  which, 
judging  from  the  results,  must  be  pronounced  quite  above  his  abilitie.s.  He  is  an  exam- 
j)le  of  the  intellectual  illusion  which  mistakes  interest  in  an  art  fora  iiower  in  it.’*  — 
Palguavl’s  Essays  on  Art. 

“ Foremost  in  its  cla.ss,  or  rather  prominent  in  that  original  walk  which  the  painter 
[Xocl  Paton]  holds  exclusively  his  own.  we  pause  before  ‘ Oskold  and  the  Elleiiiaids  * 
[at  the  Royal  Scottish  Academy,  187-1],—  Oskold,  the  fonner,  being  the  embodiment  of  a 
pilgrim  soul,  fighting  his  way  through  the  jierils  of  a false,  lying  world  ; the  latter  repre- 
sentative of  the  five  senses,  beautiful  sirens,  bent  on  the  cavalier’s  ruin  through  their 
many  glittering  temptations.  Like  most  of  this  artist’s  allegories,  the  rigidly  j>oetic  con- 
ception with  its  thousand  dreamy  suggestive  accessories  can  find  but  scant  justice  in 
word  description.  As  tlie  whole  scene  is  in  a sense  spiritually  originated,  it  must  be  not 
only  materially  but  spiritually  discerned.”  — London  Art  Journal,  Ajwil,  1874. 

Paton,  Waller  H.  (Brit.)  A native  of  Dunfermline.  Scotland. 
Younger  brother  of  Sir  Noel  Paton  and  of  Mrs.  D.  0.  Hill.  He  was 
brought  up  as  a banker.  Possessing,  however,  much  of  the  inherent 
talent  for  art  which  has  made  his  family  remarkable,  he  turned  his 
attention  to  painting,  devoting  himself  particularly  to  landscapes. 
He  is  an  artist  comparatively  self-taught,  and  has  spent  the  better 
part  of  his  professional  life  in  Edinburgh.  He  has  been  a member  of 
the  Royal  Scottish  Academy  for  some  years,  contributing  frequently 
to  its  exhibitions,  as  well  as  to  those  of  the  Royal  Academy  in  Lon- 
don. Among  his  later  works  are,  “ Old  Homes  ’’and  “New  Tenants,” 
“ Decay  of  the  Forest,”  “ Falls  of  Tummell,”  and  others,  at  the  Royal 


AETISTS  OF  THE  NINETEENTH  CENTURY.  167 


Scottish  Academy  in  1878.  His  “ Lamlash  Bay,  Isle  of  Arran”  is 
in  the  National  Gallery  of  Scotland  ; his  “ Dell  without  a Name  ” 
was  at  the  Philadelphia  Exhibition  of  1876. 

“ In  all  of  Waller  Paton’s  landscapes  there  is  a strong  leaning  to  the  spiritual  above 
the  material,  — as  little  of  the  human  as  must  be,  as  much  of  the  divine  as  may.  The 
‘ Summer  Evening,  Invereloy  Arran  ’ [R.  A.,  1874],  although  entirely  faithful  in  feature 
to  the  locale,  is  handled  with  such  delicate  grace,  and  is  so  redolent  of  the  sweet  sanctity 
of  perfect  peace,  that  we  seem  to  gaze  rather  on  a fairy  region  than  on  any  this  world 
can  offer.”  — Art  Journal,  March,  1874. 

Patrols,  Isidore.  (Fr.)  Born  at  Noyers.  Chevalier  of  the 
Legion  of  Honor.  At  the  Salon  of  1877  be  exhibited  “The  Visit’’ 
and  “The  First  Suspicion”;  in  1876,  “In  the  Garden  ” and  “ Le 
juge  intime”;  in  1874,  “The  Reading,  — Young  Russian  Girls,” 
“Confidences,”  and  “Fruits.”  Many  of  the  pictures  of  Patrois  are 
scenes  from  Russian  life.  “ The  Young  Mother  ” is  in  the  collection 
of  Mrs.  H.  E.  Maynard  of  Boston.  Near  St.  Petersburg  there  is  an- 
nually a procession  of  Holy  Images,  which  is  intended  as  a memorial 
of  the  procession  of  1832,  when  the  cholera  proved  so  fatal  in  Russia. 
Patrois  painted  a picture  of  this  procession  in  1861,  which  is  in  the 
Luxembourg. 

Patten,  George.  (Brit.)  (1802  - 1865.)  Received  his  first  in- 
struction in  art  from  his  father,  a miniature-painter  of  some  repute, 
devoting  himself,  after  studying  in  the  Royal  Academy,  to  that 
branch  of  art,  but,  later,  turning  his  attention  to  portraits  on  a 
larger  scale.  He  was  appointed  Portrait-Painter  to  the  Prince  Con- 
sort shortly  after  the  marriage  of  the  Queen,  enjoying  for  many  years 
the  patronage  of  British  Court  circles.  He  painted  a few  ideal  pic- 
tures, but  was  more  successful  in  his  portraiture  of  living  subjects. 

Patten,  Alfred  Fowler.  (Brit.)  Born  in  London,  1829.  Son 
of  George  Patten,  pupil  of  his  father,  studying  also  for  some  time  in 
the  Royal  Academy.  He  has  exhibited  frec^uently  at  the  Royal  Acad- 
emy, and  in  the  gallery  of  the  Society  of  British  Artists,  of  which 
institution  he  has  been  a member  for  some  years.  Among  his  later 
works  at  the  Royal  Academy  may  be  noted,  “ May-Day  Revelers 
fetching  forth  their  Queen,”  in  1870  ; “ Happy  Springtime,”  in  1873; 
“Reading  Robinson  Crusoe,”  in  1878.  To  the  Society  of  British  Art- 
ists he  sent,  ill  1877,  “Lovers,  beware ! ” and  “Fresh  Flowers”;  in 
1878,  “Feeding  the  Ducks  ” and  “ La  belle  fleuriste.” 

Pauwels,  William  F.  (Dutch.)  Born  at  Eeckeren,  1830.  Di- 
rector of  historical  painting  in  the  Academy  at  Weimar.  Pupil  of 
Wappers  and  De  Keyser.  Painter  of  historical  and  genre  subjects 
and  portraits.  Among  his  works  may  be  mentioned,  “ The  Widow 
of  Van  Artevelde,”  “The  Proscribed  Victims  of  the  Duke  of  Alba,” 
and  the  “ Calling  of  St.  Clara.”  Pauwels  has  decorated  the  interior 
of  the  Hall  at  Ypres  ; the  subjects  are  historical  scenes  from  1187  to 
1383,  such  as  “The  Founding  of  the  First  Hospital  in  Flanders,” 
“The  Return  of  Warriors  after  the  Battle  of  the  Golden  Spurs,”  etc. 


1C8  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


One  of  his  later  works  is  a genre  picture  of  “ Queen  Philippa  of  Eng- 
land succoring  the  Poor  of  Ghent.”  At  the  Corcoran  Gallery,  Wash- 
ington, is  his  “Justice  to  Lievin  Pyn,  1541.” 

Pazzi,  Enrico.  (Jtal.)  Born  at  Ravenna,  1818.  Knighted  hy 
Victor  Enmianuel,  he  has  received  from  King  Humbert  the  highest 
pension  of  the  Commandery  of  the  Order  of  Saints  Maurice  and  Laz- 
arus. Professor  in  the  Academy  of  Florence  and  honorary  member 
of  many  Italian  and  foreign  academies  and  societies.  He  first  stud- 
ied in  the  Academy  of  Bologna  under  Professor  Santi;  later,  in  Flor- 
ence under  Dupre.  He  received  a subsidy  from  the  city  of  Ravenna 
for  six  years,  to  enable  him  to  continue  his  studies.  In  1848  he  re- 
turned to  Bologna.  In  1868  his  statue  of  Dante  was  erected  in  the 
Piazza  Santa  Croce  at  Florence.  Later  he  modeled  a statue  of  Savo- 
narola (intended  for  a large  hall  in  the  Palazzo  Vecchio,  Florence) 
and  a group  called  “ Venice  Enslaved.”  He  was  summoned  to  Bel- 
grade in  Servia,  where  he  received  from  that  government  a commis- 
sion to  erect  (in  bronze)  an  equestrian  statue  to  ^lichael  Obrenovicht 
III.  About  the  same  time  he  ■was  charged  with  the  erection  of  a 
monument  to  the  illustrious  Luigi  Carlo  Farina,  the  patriot  historian, 
in  the  Piazza  della  Stagione  at  Ravenna.  At  the  unveiling  of  this 
monument  Pazzi  was  made  a citizen  of  the  toum  of  Russi,  the  birth- 
place of  Farini,  and  it  was  also  upon  this  occasion  that  he  was  so 
highly  honored  by  King  Humbert.  One  of  the  earliest  works  of  this 
sculptor  was  “ The  Child  Moses  trampling  on  the  Crown  of  Pharaoh,” 
and  one  of  his  hvtest  is  “ Lucretia.” 

Peale,  Rembrandt.  (Am.)  Bom  in  Pennsylvania  (1778-1860). 
He  early  evinced  a taste  for  art,  and  in  1795  painted  from  life  a por- 
trait of  General  Washington,  frequently  copied  by  himself  and  others, 
and  well  known  through  the  engravings  after  it.  It  was  purchased 
by  the  United  States  Government  in  1832.  Peale  studied  art  under 
liis  father  Charles  W.  Peale,  one  of  the  early  American  portrait- 
painters  in  Philadelphia,  opening  a studio  of  his  own  in  Charleston, 
S.  C.,  in  1796.  In  1801  he  went  to  London,  where  he  was  a pupil  of 
Benjamin  West  until  1804.  He  lived  for  three  years  in  Paris,  return- 
ing to  America  in  1809.  Among  the  better  known  of  his  portraits 
are  those  of  President  Jefferson,  Mrs.  Madison,  Commodores  Bain- 
bridge,  Perry,  and  Decatur  (in  the  Gallery  of  the  Flew  York  Histori- 
cal Society)  ; of  Houdon  the  sculptor  (in  the  Pennsylvania  Academy 
of  Fine  Arts);  of  General  Armstrong,  and  an  equestrian  portrait  of 
Washington  (in  Independence  Hall),  and  many  people  of  note  on 
both  sides  the  Atlantic.  His  “ Errina  ” is  in  the  collection  of  H.  C. 
Carey  of  Philadelphia.  “ Wine  and  Cake  ” and  “ Italian  Pe;rsant  ” 
belong  to  James  L.  Claghom  ; “ Babes  in  the  Wood,”  to  Marshall  0. 
Roberts  ; and  “ Song  of  the  Shirt,”  to  G.  W.  Riggs.  His  “ Court  of 
Death  ” (a  large  canvas,  13  feet  by  24  feet)  has  been  frequently  litho- 
graphed and  engraved,  and  is  probably  the  best  kno'sra  of  his  works. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  169 


It  was  exhibited  in  almost  every  important  city  of  the  United  States. 
Rembrandt  Peale  was  the  author  of  several  books  : “Notes  on  Italy,” 
published  in  1831  ; “Reminiscences  of  Art  and  Artists,”  published 
in  1845  ; besides  a biography  of  his  father,  and  occasional  papers  on 
art  topics. 

Peale,  Sara  M.  (Am.)  Daughter  of  James  Peale.  She  studied 
under  her  father,  and  under  her  uncle  John  Peale  (the  founder  of 
Peak’s  Museum),  devoting  herself  to  portrait-painting,  and  working 
at  her  profession  for  some  years  in  Baltimore  and  Washington,  where 
she  had  among  her  sitters  Lafayette,  Benton,  Henry  A.  Wise,  Caleb 
Cushing,  and  other  distinguished  men.  She  resided  in  St.  Louis  from 
1847  to  ’77,  painting  there,  among  other  portraits,  one  of  Father 
Mathew.  She  went  to  Philadelphia  in  1878.  Of  late  years  she  has 
turned  her  attention  to  fruit-pieces. 

Pearce,  Charles  Sprague.  (Am.)  A native  of  Boston.  He  has 
lived  for  some  time  in  Europe,  painting  under  Bonnat  in  Paris,  and 
spending  his  winters  at  Nice.  He  has  also  made  tours  in  Africa, 
Algiers,  etc.  He  has  devoted  himself  to  portraits  and  figure-pieces, 
exhibiting  in  the  Paris  Salon.  To  the  Centennial  Exhibition  at 
Philadelphia  in  1876  he  sent  “ L’ltalienne  ” ; to  the  exhibition  of  the 
Society  of  American  Artists,  in  1878,  “ The  Lamentation  over  the 
First-Born  in  Egypt.”  His  “ Pet  of  the  Harem  ” (belonging  to  R.  S. 
Fay),  and  the  “Lamentation”  and  others,  were  exhibited  at  the 
Mechanics’  Fair,  Boston,  1878. 

Peduzzi,  Renato.  (Ital.)  Of  Milan.  At  Philadelphia  he  ex- 
hibited “ A Chimney-Piece  with  a Boy  representing  Silence,”  “ A 
Boy  and  a Swan,”  and  “A  Dancing  Fawn,”  and  received  a medal. 

Peele,  John  T.,  A.  N.  A.  (Brit.-Am.)  Born  in  Peterboro’,  Eng- 
land, 1822.  Carried  to  America  by  his  parents  in  1824.  Began  the 
practice  of  art  in  Buffalo,  N.  Y.,  under  difficulties  and  with  no  art 
education.  He  painted  portraits  in  New  York,  Albany,  and  London, 
England,  settling  finally  in  New  York  about  1846,  where  he  turned 
his  attention  to  the  painting  of  ideal  subjects,  in  which  children  form 
the  principal  feature.  He  went  again  to  England  in  1851,  to  the  Isle 
of  Man  in  1858,  remaining  eight  years,  and  finally  took  up  his 
residence  in  Kent.  He  is  an  Associate  of  the  National  Academy  of 
Design,  New  York,  and  a member  of  the  Society  of  British  Artists, 
in  whose  galleries,  as  well  as  in  those  of  the  Royal  Academy,  London, 
he  frequently  exhibits.  Among  his  works  are,  “ The  Children  of  the 
Wood,”  “Grandma’s  First  Lesson  in  Knitting,”  “Music  of  the 
Reeds,”  “The  Little  Laundress,”  “Children  of  Robert  Thornton” 
(R.  A.,  1874),  “ Grace  before  Meat,”  “ Highland  Supper,”  “ Sunny 
Days  of  Childhood,”  “ Asleep  on  Duty,”  “ One  Tune  More,”  “ Blowing 
Bubbles,”  “ A Monument  of  Suspense,”  and  “ The  Prayer  for  Health,” 
many  of  which  have  been  engraved.  His  “Children  of  the  Wood” 
(purchased  by  Prince  Albert)  is  in  Osborne  House,  Isle  of  Wight. 

von.  II.  8 


170  ARTISTS  OF  TUB  NINETEENTH  CENTURY. 


“ Peek’s  method  of  treating  juvenile  portraiture  is  both  commendable  and  pleasant : 
it  retains  the  individuality  while  it  takes  the  impersonatiou  out  of  the  category  of 

a mere  portrait,  dressed  and  set  up  for  the  occasion In  all  of  his  works  Mr. 

Peek’s  aim  and  purpose  seem  to  have  been  to  show  as  much  of  the  poetic  side  of  nature 
as  is  consistent  with  his  subject,  to  preserve  its  individuality,  while  imparting  to  it 
something  beyond  mere  natuialism."  — JH  Journal,  May,  1876. 

Peiffer,  Auguste- Joseph.  (Fr.)  Bom  at  Paris.  Pupil  of  Klag- 
mann.  Medal  of  the  third  class  in  1878,  when  he  exhibited  “ The 
Swallows,”  a statue  in  marble. 

Peinte,  Henri.  (Fr.)  Bom  at  Cambrai.  Prix  du  Salon,  1877. 
Pupil  of  Guillaume  and  Cavelier.  The  sensation  which  the  ’•  Sarpe- 
don”  of  this  artist  made  is  well  shown  in  the  extracts  below,  and 
when  it  is  found  so  artistic  and  beautiful  in  plaster  what  may  it  be  in 
some  more  artistic  material ! 

“ The  ‘ Sarpeclon  * of  Peinte  is  one  of  the  statues  most  justly  remarked  by  all  those 
who  have  studied  the  human  body  and  the  difficult  art  of  reproducing  it  with  originality. 
It  merits  iht  prix  du  Salon  which  it  receivefL*’  — Charles  Timbal,  Gazette  dcs  Beaux- 
Arts,  June,  1877. 

“ The  figure  is  solidly,  firmly  planted.  The  attitude  and  the  movement  are  exact  and 
correct.  The  design,  without  angles  or  heurts,  is  of  a rare  elegance.  The  muscles  are 
wisely  treated,  without  exaggeration.  The  ensemble  is  irreproachable,  and  the  ‘Sarpe* 
don,'  in  bronze,  will  become  classic.”  — Mario  Proth,  Voyage  an  Paysdes  Peinires,  1S77. 

Pellegrin,  Louis  Antoine  Victor.  (Fr.)  Born  at  Toulon,  1836. 
Made  his  debut  at  the  Salon  of  1864,  with  a picture  of  “Louis  XIV. 
making  Presents  to  the  Duchess  of  Bourgogne  in  the  Apartments  of 
Mme.  Maintenon.”  This  was  followed  by  “ Marie  Antoinette  wait- 
ing to  be  taken  to  the  Tribunal,”  “Vert-Vert,”  “Interior  of  the 
Church  of  Saint-Severin,”  “ Marie  Antoinette  conducted  to  the  Scaf- 
fold,” etc.  He  exhibited  at  the  London  Academy,  in  1873,  “ Saint- 
Severin’s  Church  at  Paris  on  Christmas  Eve.” 

Pelouse,  Louis  Germain.  (Fr.)  Born  at  Pierrelaye.  Medals 
in  1873  and  ’76.  Landscape-painter.  His  “ Souvenir  of  Cernay  ” 
(1872)  is  in  the  Lu.xembourg.  At  the  Salon  of  1877  he  exhibited 
two  views  in  Finistere,  one  an  evening  and  one  a morning  effect. 
They  belonged  to  M.  Tabourier  and  M.  Hoschede. 

Penley,  Aaron  Edwin.  (Brit.)  (1806  — 18(0.)  Mater-color 
artist,  painting  landscapes,  portraits,  and  rustic  figure-pieces.  He 
was  Professor  of  Drawing  at  IVoolwich  Academy,  M ater-Color  Painter 
to  IVilliam  IV.,  and  author  of  several  valuable  books  upon  art  sub- 
jects. 

Penne,  Charles  Olivier  de.  {Fr.)  Bom  at  Paris.  Medal  in 
1875.  Pupil  of  Cogniet  and  Jacque.  At  the  Salon  of  1877  he  ex- 
hibited “Dogs  of  St.  Hubert”  and  “Fox  Hounds”;  in  1876, 
“ The  Cry  of  the  Mbld  Boar”  and  “English  Dogs”  ; in  1875,  “Xor- 
man  Dogs  ” and  “ Cerf  force,  — tenant  les  abois.”  At  the  Johnston 
.sale  in  1876,  “The  Lost  Scent”  (12  by  18)  sold  for  §190  (water- 
color).  At  the  Salon  of  1878  he  exhibited  “English  Dogs”  and 
“ Dogs  of  Saint-Germain  and  Skye.” 


ARTISTS  OF  TEE  NINETEENTH  CENTURY.  171 


Pennethorne,  Sir  James.  {Brit.)  Bom  in  Worcester,  England, 
1801.  At  an  early  age  he  went  to  London,  studying  architecture 
under  Nash,  Pugin,  and  others.  About  1825  he  visited  the  Conti- 
nent, spending  some  time  in  study  in  Romei  In  1840  he  was  appointed 
architect  and  surveyor  to  the  Commissioners  of  Woods,  and  turned  his 
attention  particularly  to  the  improvement  of  the  streets  of  London. 
Among  the  better  known  of  his  architectural  works  are  the  new  wings 
of  Buckingham  Palace  and  Somerset  House,  and  the  new  University 
of  London.  He  also  furnished  designs  for  the  laying  out  of  Battersea 
and  Victoria  Parks.  He  was  knighted  by  the  Queen  in  1870. 

Pereda,  Raimondo.  {Ital.)  Of  Milan.  At  Philadelphia  he  ex- 
hibited, “ Love’s  Net,”  “A  Child’s  Grief,”  and  “Pretence  and  Sym- 
pathy,” in  sculpture.  At  the  Paris  Exposition  of  1878  he  exhibited 
a group  in  marble,  called  “ Orphelins  de  mere.” 

Perigal,  Arthur.  {Brit.)  A native  of  London,  residing  for  many 
years  in  Edinburgh.  Landscape-painter.  Member  of  the  Royal 
Scottish  Academy,  exhibiting  there  and  at  the  Royal  Academy  in 
London.  Among  his  later  works  may  be  noted,  “Loch  Assynt, 
Sutherlandshire,  ” “ Vesuvius,  from  Naples,”  “At  the  Pier  at  Nairn,” 
“ Arran,”  “ On  the  Jed,”  “ A Rough  Day,”  “ Evening  in  Skye,  ” “ Loch 
Tromlie,”  “ Morning  in  Glen  Nevis,  ” etc.  His  “ Moorland  near  Kiii- 
lochewe,  Ross-shire  ” is  in  the  Scottish  National  Gallery. 

Pdrignon,  Alexis.  {Fr.)  Born  at  Paris,  1806.  Officer  of  the 
Legion  of  Honor.  Pupil  of  Gros.  This  celebrated  portraitist  is  dis- 
tinguished by  “ a true  color,  a firm  and  fine  pate,  with  elegance  of  form, 
grace  in  modeling,  and  a sober  and  wise  execution.”  Large  numbers 
of  his  portraits  have  been  exhibited  at  the  Salons.  Perignon  be- 
came, some  years  since,  the  Director  of  I’Jicole  des  Beaux- Arts  at 
Dijon.  He  exhibited  two  portraits  at  the  Paris  Salon  of  1878. 

Perkins,  Charles  C.  (Am.)  Born  in  Boston,  1823.  Chevalier  of 
the  Legion  of  Honor,  1867.  Corresponding  Member  of  the  French 
Institute,  1868.  President  of  the  Boston  Art  Club  since  1871.  Mem- 
ber of  the  American  Academy  of  Arts  and  Sciences,  1874.  Honorary 
Director  of  the  Museum  of  Fine  Arts,  Boston,  1876.  Member  of 
the  New  England  Historical  Society,  1876.  Honorary  Member  of 
the  Metropolitan  Art  Museum,  New  Vork,  for  life.  President  of  the 
Handel  and  Haydn  Society  since  1875.  Mr.  Perkins  studied  oil- 
painting  under  Ary  Scheffer,  and  etching  under  Bracquemond  and 
Lalanne.  Though  not  a professional  artist,  he  devotes  himself  to  the 
study  of  art  in  various  directions,  delivers  lectures  upon  subjects  con- 
nected with  etching  and  other  kindred  topics,  and  published  “ Tuscan 
Sculptors,”  two  volumes,  in  1864,  and  “ Italian  Sculptors,”  one  vol- 
ume, in  1867.  The  plates  in  these  books  were  etched  by  the  author, 
many  of  them  from  his  own  drawings.  In  1878  Mr.  Perkins  pub- 
lished “ Raphael  and  Michael  Angelo,”  a biographical  and  critical 
essay. 


172  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


“ ‘ Italian  Sculptors  ; being  a History  of  Scuipture  in  Nortbem,  Southern,  and  East- 
ern Itaiy.’  Mr.  Perkins  continues,  we  trust  he  does  not  conciude,  his  vaiuabie  popuiar 
dissertation  on  the  scuipture  of  Itaiy.  Haring,  four  years  since,  given  us  an  exceiicnt 
account  of  the  arts  in  marbie  and  bronze  as  tiiey  were  practiced  in  the  seats  of  the  old 
Etruscans  and  their  accessories,  he  turns  to  other  fields  in  that  peninsula,  which,  if  it 

was  not  the  birthplace,  has  been  the  Capua  and  the  grave  of  the  nobler  arts The 

author  reviews  with  much  tact,  excellent  taste,  and  ample  learning,  the  seulptnral 
schools  of  Rome,  Lombardy,  — a very  interesting  branch  of  the  subject,  wherein  he 
points  out  the  error  of  ascribing  the  arts  of  their  Italian  buildings  to  the  Lombard  tribe, 
rather  than  to  the  Maestro  Comaeini,  or  freemasons,  and  traces  the  whole  historj-  of 
that  noble  branch  of  design, — Venice,  with  a charming  school  of  the  greatest  wealth, 
Verona,  Vicenza,  Padua,  Mantua,  and  Brescia,  all  of  which  have  marked  characteristics, 
and  the  cities  of  Central  Italy,  Bologna,  Ferrara,  Modena,  Genoa,  Carrara,  etc.  Our 
verdict  on  this  admirable  work  is  given  with  pleasure,  not  only  on  account  of  the  taste, 
tact,  learning,  and  comprehensive  views  of  the  author,  butbecamse  his  literary  style  is 
clear,  hLs  research  large,  and  his  illustrative  power  rich.”  — London  Athemeum,  January  2, 
1S69. 

“ In  choosing  Raphael  and  Michael  Angelo  for  his  subjects,  Mr.  Perkins  sets  his  feet 

in  a well-worn  track Next  best  to  new  material,  however,  is  a novel  and  lively 

presentation  of  the  old.  Andtosomuch  of  originality,  Mr.  Perkins  in  this  scholarly 
and  refined  treatise  can  lay  claim.  No  one  before,  if  our  memoiy  serves,  has  given  a 
sketch  of  these  two  great  artists  set  side  by  side  like  the  double  profile  on  an  antique  coin, 
one  shining  in  the  sunshine  of  youth  and  love  and  divine  achievement,  the  other  somber 
with  the  njighty  shadows  of  his  own  stormy  power.”  — Literary  IForld,  March,  1878. 

Perraud,  Jean  Joseph.  (Fr.)  Born  at  Monay  (1821-1S76). 
Member  of  the  Institute,  1 865.  Officer  of  the  Legion  of  Honor,  1867. 
Medal  of  Honor,  1869.  This  sculptor  was  the  pupil  of  Ramey  and 
A.  A.  Dumont,  and  of  I’Ecole  des  Beaux- Arts.  He  gained  the  grand 
prix  de  Rome  in  1847.  In  1863  he  exhibited  “The  Infancy  of  Bac- 
chus,” nowin  the  Luxembourg,  which  reappeared  at  the  Exposition 
of  1867;  in  1869,  “Despair,”  now  in  the  Luxemboui^,  which  was 
much  remarked,  and  “ Sainte-Genevieve,”for  the  church  of  Saint-Denis- 
(lu-Saint-Sacrament.  Perraud  executed  a figure  of  “ Justice  ” and 
two  caryatides  for  the  Palace  of  Justice,  and  a group  of  the  “ Lvric 
Drama  ” for  the  New  Opera  House  at  Paris.  He  followed  the  classical 
traditions,  and  has  been  called  cold  and  mannered.  In  1866  he  ex- 
hibited at  the  Salon  two  portrait  busts;  in  1875,  “ The  Day,”  a group 
in  marble,  for  the  Avenue  de  PObservatoire,  and  two  portrait  busts; 
in  1874,  two  portrait  busts  ; in  1873,  “ Galatea,”  statue  in  marble. 

“ ‘ The  Infancy  of  Bacchus  ’ is  the  work  of  a sculptor  who  knows  all  the  secrets  of  the 
human  form,  and  excels  in  expressing  them,  even  in  the  attitudes,  which,  like  those  he 
has  given  to  these  figures,  make  most  prominent  the  hidden  details  of  the  interior 
structure  of  the  bones.  The  trunk,  the  limbs,  the  shoulders  of  the  fawn,  are  of  superb 
workmanship  : the  flesh,  although  virile  and  firm,  has  a supple  delicacy  and  much  life  ; 
the  head  is  expressive  : the  little  Bacchus  is  also  full  of  delicacy  and  force  ; in  fine,  the 
work  is  marvelou-sly  brilliant  in  all  its  details.  We  believe,  at  the  s.ame  time,  that 
in  the  next  figure  which  Perraud  cuts  in  marble  he  will  preoccupy  himself  more  with 
the  beauty  of  the  whole  effect  and  with  the  eurj-thmy  of  the  lines.  Perraud  is  a sculp- 
tor, he  is  not  yet  a statuary.”  — Paul  Maxtz,  Gazette,  des  Scaux-Arts,  July,  1863. 

Perrault,  L^on.  (Fr.)  Bom  at  Poitiers.  Medals  at  Piiris  in  1864 
aud  ’76,  and  one  at  Philadelphia.  Pupil  of  Picot  and  Bouguereau. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  173 


At  Philadelphia  he  exhibited  “ The  Bather  ” and  “ Repose,”  and  at  the 
Salon  of  1877,  “ Jesus  Christ  in  the  Tomb  ” and  a portrait ; in  1878, 
“ Maternal  Tenderness  ” and  a portrait. 

Ferret,  AimA  {Fr.)  Born  at  Lyons,  1847.  Third-class,  medal  in 
1877.  Pupil  of  r licole  des  Beaux- Arts  of  his  native  city,  and  of  Vollon 
at  Paris.  He  exposed  several  works  at  Lyons,  and  had  already  attracted 
much  attention  when  he  made  his  debut  in  Paris,  at  the  Salon  of  1870, 
with  the  “ Gossips  of  the  Banks  of  the  Rhone,  — in  the  Fog.”  This  same 
year  he  came  under  the  influence  of  Vollon,  who  was  of  great  advantage 
to  him.  He  joined  the  army  in  1870,  and  after  his  duties  there  were 
ended,  he  made  his  journey  to  La  Bresse,  the  quaint  country  from 
which  he  has  drawn  so  many  inspirations.  Among  his  works  are, 
“A  Baptism  in  La  Bresse”  (1877),  “A  Wedding  in  Bourgogne  in 
the  Eighteenth  Century  ” (1876),  “ Between  two  Fires  ” and  a “ Ravine 
of  Bugey  ” (1875),  “ The  Oriental  ” and  “ Young  Girls  of  Macon.”  At 
the  Salon  of  1878  he  exhibited  a portrait  and  “ A Dream  on  the  Grass.” 

Perry,  B.  Wood,  N.  A.  {Am.)  Born  in  Boston,  18.31.  Was  for 
some  time  in  a mercantile  house  in  New  Orleans.  In  1852  went  to 
Europe  to  study  art,  visited  London  and  Paris,  and  settled  in  Diissel- 
dorf,  studying  under  Leutz  for  two  years  and  a half,  and  was  in  the 
studio  of  Couture  in  Paris  for  one  year.  In  1857  he  went  to  Venice, 
holding  the  position  of  United  States  Consul.  In  1860  he  returned  to 
the  United  States,  and  visited  many  of  the  cities  of  the  South  and 
West,  where  he  was  well  regarded  as  a portrait-painter.  He  spent 
three  or  four  years  in  San  Francisco,  and  went  to  the  Sandwich  Isl- 
ands ; on  his  return  painting  portraits  of  Brigham  Young  and  other 
Mormon  leaders.  He  settled  in  New  York  in  1866,  and  contributed 
to  the  National  Academy,  in  1867,  “ Counting  the  Spoils.”  In  1868 
he  was  made  Associate  of  the  National  Academy,  and  in  1869,  when 
he  exhibited  “ The  Weaver,”  he  was  made  Academician.  In  1870  he 
exhibited  “ Huldy,”  “ The  Contraband  of  Peace,”  and  “ The  Story  of 
the  Tiles  ” ; in  1871,  “ The  Garibaldian,”  “ The  Lost  Art,”  “ The  Clock- 
Doctor,”  and  “ Saturday  Afternoon  ” ; in  1874,  “ He ’s  coming,  — Anne 
Hathaway  ” (belonging  to  E.  E.  Dorman) ; in  1875,  “ The  Old  Story,” 
“A  Good  Egg,”  and  “ Heart’s  Ease”  ; in  1876,  “A  Quilting-Party,” 
“A  Bit  of  Gossip,”  “A  Quiet  Afternoon,”  and  others  ; in  1877,  “The 
Sower,”  “Sweet  Corn,”  and  “A  Helping  Hand”;  in  1878,  “The 
Story.”  In  1876  he  sent  to  the  Water-Color  Exhibition,  “ A Month’s 
Darning”  and  “ Anne  Hathaway’s  Kitchen”  ; in  1877  (when  he  was 
elected  a member  of  the  Society),  he  contributed  “ Spun  Out,”  “ A 
Nice  Book,”  and  “ The  Milkmaid.”  His  “Young  Franklin  and  the 
Press”  belongs  to  the  Buffalo  Academy  of  Fine  Arts  ; “A  Month’s 
Darning,”  at  Philadelphia,  in  1876,  is  in  the  collection  of  S.  V. 
Wright. 

“ Perry  at  the  present  time  occupies  a place  very  nearly  at  the  head  of  our  American 
genre  painters.  He  was  one  of  the  first  of  them  to  paint  American  subjects,  and  the 


174  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


most  lowly  are  invested  with  a poetry  of  feeling  and  delicacy  of  expression  which  are 
not  exceeded  hy  any  of  his  contemporaries.  That  he  is  a close  student,  the  wide  range 
of  his  domestic  subjects  gives  ample  evidence.  His  style  is  broad,  but,  in  connection 
with  it,  tliere  are  an  apparent  mellowness  of  execution  and  unity  of  sentiment,  which  are 
so  noticeable  in  the  best  works  of  the  modem  French  schools.”  — Art  Jmmvil,  July,  1S75. 

**  Mr.  Perry  exhibited  three  pictures,  ‘ The  Weaver,’  ‘ Kept  In,’  and  ‘ Young  Franklin,* 
all  characteristic  and  distinctively  American.  This  artist  has  made  steady  progress,  and 
adhered  with  commendable  strictness  to  subjects  within  the  scope  of  his  powers  and 
sympathies,  and  he  has  gradually,  but  surelj*,  attained  a command  over  hU  materials  that 
is  wortliy  of  high  praise.  His  pictures  are  illustrative  and  ]deasing,  and  evince  a con- 
scientious study  of  his  subject.  He  has  not  yet  attained  complete  mastery  of  the  figure, 
nor  are  his  pictures  free  from  labored  manipulation  and  thinness  of  method,  but  they 
evince  genuine  qualities  of  merit.”  — Prof.  Weir’s  Official  P^eport  of  the  American  C€n~ 
tennial  Exhibition  o/lS7C. 

Perry,  lone.  {Am.)  Born  in  the  city  of  New  York,  1839.  She 
studied  in  the  art  schools  of  the  Cooper  Institute,  New  York,  and  for 
some  months  was  a pupil  in  painting  of  Mr.  Henry  Loop.  Her  pro- 
i'essional  life  has  been  spent  in  New  York,  and  her  works  are  exhibited 
in  the  galleries  of  Schaus,  Goupil,  and  others.  Among  her  paintings 
may  be  mentioned,  “ Called  by  the  Angels  ” (belonging  to  Mrs. 
Younglove  of  Cleveland,  Ohio),  “ Fadalma  ” (belonging  to  Mrs.  A.  C. 
Longstreet  of  New  York),  “Hypatia”  (belonging  to  Miss  Mary  L. 
Booth  of  New  York),  “Eomola”  (belonging  to  Miss  Bunce),  and 
“ Heavenward,”  “ Consuelo,”  “Aida,”  “ Zenobia,”  “ Elsa  at  the  Com- 
ing of  Lohengrin,”  etc. 

“In  conception,  originality  of  treatment,  and  spirited  drawing,  this  work  [‘Heaven- 
ward’] may  be  reganledas  the  chef-iVceuvre  of  this  gifted  lady.  It  has  been  reproduce<l 
by  a Paris  artist  Mre.  Perry  painted,  some  years  ago,  another  ideal  picture,  entitled 
* Called  by  the  Angels,*  which  was  similarly  reproduced  and  is  now  having  a large  sale 
in  the  United  States.  Both  works  evince  a profound  study  of  the  old  masters,  and 
are  more  spiritedly  treated  than  almost  any  of  the  subjects  of  a similar  character 
that  we  have  seen  in  the  American  school.”  — American  Jlegister,  Paris. 

“Mrs.  lone  Perry  is  a figure-painter.  Her  ideal  heads  arc  widely  known  through 
their  lithographic  reproductions.  She  is  fond  of  making  studies  from  great  creations 

in  literature Her  coloring  is  rich  and  yet  delicate.  Her  drai)eries  are  graceful 

and  conscientiously  arranged  and  completed.  Her  attitudes  are  both  natural  and  dig- 
nified. Her  flesh-tints  and  textures  are  tender  and  natural,  but  more  than  all  is  a 
superiority  of  character  which  she  never  fails  to  create  for  her  pictures.”  — Chicago 
Times. 

Perry,  John  D.  {Am.)  Bom  at  Swantou,  Yt.,  1845.  By  profes- 
sion a sculptor.  He  is  not  a graduate  of  any  of  the  schools  of  art,  but 
has  studied  diligently  from  Nature  in  his  native  countin',  and  from  the 
works  of  the  masters  on  the  continent  of  Europe.  He  lived  in  New 
York  in  1869  and  ’70,  but  has  passed  the  rest  of  his  professional  life 
in  Italy  and  Boston.  A statue  for  the  Soldiers’  Monument  of  Swan- 
ton,  Vt.,  his  first  public  work,  was  unveiled  in  1868.  He  was  in 
Rome  in  1872  and  again  in  1873,  and  spent  the  years  1876  to  ’78  in 
the  same  city.  He  has  made  many  portrait  busts,  including  those  of 
Horace  Greeley,  C.  R.  Train,  Attorney-General  of  Massachusetts,  Dr. 
Winslow  Lewis,  Mr.  and  Mrs.  Thomas  Mack,  H.  D.  Parker  of  Boston, 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  175 


and  others.  His  bust  of  Greeley  and  two  ideal  works,  Tennyson’s 
“ Beggar  Maid  ” and  “ Christmas  Morning,”  all  in  marble,  are  in  the 
private  library  of  C.  Baker  of  Stanbridge,  Canada.  He  made  the 
statue  of  “ Morality  ” (one  of  the  sitting  figures  of  the  Plymouth  Mon- 
ument), “Spring”  (a  marble  bust  for  Mr.  Sankenau  of  Philadelphia), 
“ The  Two  Buds  ” (in  bas-relief,  plaster,  the  original  of  which  belongs 
to  Mrs.  H.  B.  Stowe),  statuette  of  Charles  Sumner,  etc.  His  “ Widow’s 
Mite,”  life-size,  is  his  most  important  work,  not  yet  in  marble.  It 
has  been  highly  praised  in  Rome,  where  it  was  modeled  in  1878.  Of 
bis  statuette  of  Sumner,  the  late  J.  T.  Sargent  wrote  in  the  Boston 
Globe  ; — 

“ It  has  the  true  otium  cum  dijnitate  which  the  right  treatment  of  the  subject 
claims,  and  withal  a sort  of  liome  look  and  familiar  social  grace  and  expression  which 
so  many  of  our  statues  of  public  men  seem  to  lack.  Its  facial  truthfulness  is  admirable, 
and  as  a likeness  from  head  to  foot  it  is  without  defect  The  pose  of  the  figure  is  fine, 
representing  Mr.  Sumner  in  an  easy  sitting  posture  at  a desk,  with  his  right  arm  resting 
thereupon,  while  the  whole  person  has  the  dignified  aspect  so  peculiar  to  him.” 

“ The  character  study  of  Charles  Sumner,  sitting  at  his  desk,  will  also  be  remembered 
as  one  of  his  successful  efforts.  A bust  of  a little  child,  in  marble,  at  the  Mechanic  Ex- 
hibition, is  interesting  as  showing  a strong  bent  of  the  artist's  inclination,  his  children’s 
he,ads  being  among  his  most  successful  realizations  of  character.  He  has  a decided  sym- 
pathy with  childiiood,  and  their  natural  ways  and  unstereotyped  expressions  are  always 
attained.  We  write  this  especially  after  having  seen  a photograph  of  a semi-ideal  bust 
of  a cliild,  in  marble,  the  original  of  which  has  not  yet  arrived  from  Rome.  It  is  entitled, 
we  believe,  ‘ The  But,terfly,’  and  represents  a little  child  looking  down  at  a butterfly  that 
has  alighted  on  its  little  bare  shoulder,  its  own  bust  being  lost  in  a bouquet  of  roses.  The 
face  of  the  child  is  charmingly  represented,  and  the  cutting  of  the  marble  has  been  done 
so  deftly  that  almost  the  softness  of  texture  of  the  skin  has  been  realized.”  — Boston 
Transcript,  October  29,  187S. 

Perugini,  Charles  Edward.  (Ital.-Brit.)  A native  of  Italy, 
but  for  many  years  a resident  of  England,  constantly  exhibiting  at  the 
Royal  Academy.  Among  his  later  pictures  are,  “ Playing  at  Work,”  in 
1872  ; “Between  School-Hours,”  in  1873  ; “ A Cup  of  Tea”  and  “A 
Labor  of  Love,” in  1874  ; “Gardening,”  in  1875  ; “Choosing  a Nose- 
gay,” in  1876  ; “Finishing  Touches,”  in  1877  ; “Roses  and  Butter- 
flies,” in  1878.  He  sent  a portrait  of  his  wife  to  the  Philadelphia 
Exhibition  of  1876,  and  “ The  Labor  of  Love”  to  Paris,  in  1878. 

“ There  is  much  grace  showing  itself  [in  ‘ A Cup  of  Tea,’  R.  A.,  1874],  as  well  in  the 
carefully  drawn  figure  of  a young  lady  who  sips  the  cup  of  tea  as  in  tlie  general  harmony  of 
color  secured  for  the  whole  composition.  Mr.  Perugini  understands  the  sense  of  rich 
effect  in  setting  the  creamy  tints  next  the  flesh,  and  in  banishing  almost  entirely  the 
colder  coloi-s.”  — Art  Journal,  June,  1874. 

Perugini,  Mrs.  C.  E.  (Kate  Dickens).  {Brit?)  Younger  daugh- 
ter of  Charles  Dickens,  and  wife  of  Charles  Edward  Perugini.  She 
works  in  her  husband’s  studio,  and  sent  to  the  Royal  Academy  in 
1878  “A  Competitive  Examination  ” and  “ In  for  a Scrape  ” ; the  pre- 
ceding year  she  contributed  “ An  Impartial  Audience.”  Her  “ Music 
hath  Charms  ” was  at  the  Winter  Exhibition  of  the  Dudley  Gallery  in 
1877. 


170  ARTISTS  OF  TEE  NINETEENTH  CENTURY. 


“ Mrs.  Perugini,  who  is  a daughter  of  the  late  Charles  Dickens,  inherits  much  of  the 
subtle  and  delicate  humor  that  characterized  her  father.  A picture  near  completion, 
charming  in  color  and  feeling,  represents  a dainty  little  lady  seated  on  a bench  in  a 
garden,  with  a finger  uplifted,  reading  to,  or  cross-examining,  a grown-up  peasant  girl, 
with  hands  held  in  orthodox  fashion  behind  her  back.  On  the  seat  at  the  child’s  side 
are  an  attentive  group  of  dolls,  amongst  them  a quaint  Japanese.”  — Magazine  of  Art, 
May,  1S7S. 

Pesenti,  Domenico.  (Ital.)  Bom  at  Medole,  near  Brescia,  about 
1852.  Medal  at  Naples,  1877.  A fine  artist,  who  paints  both  in  oil  and 
water  colors.  His  “ Choir  of  Santa  Maria  Novella,  Florence,”  in  oils,  is 
in  the  Bodleian  Library  at  Oxford.  The  “ Arch  of  San  Giorgio  at 
Florence,”  in  water-colors,  is  owTted  in  Boston,  and  is  very  fine.  It 
was  painted  upon  a special  commission,  and  has  never  been  duplicated 
or  exhibited  in  public.  The  character  and  costume  figures,  in  water- 
colors,  by  this  painter  are  fine,  and  are  very  popular  among  the  Eng- 
lish and  American  connoisseurs  who  visit  Italy.  Several  of  these  are 
o^vned  in  Boston.  “ A Violin-Player  ” belongs  to  Dr.  G.  C.  Clement. 

Peters,  Anna.  (Ger.)  Born  at  Mannheim,  1843.  Medals  at 
Vienna,  London,  Munich,  Amsterdam,  and  Antwerp.  Pupil  of  B.  F. 
Peters  in  Stuttgart.  She  has  traveled  extensively,  and  has  painted 
some  decorative  works  in  several  German  castles.  Her  subjects  are 
flowers  and  fruits.  At  the  National  Gallery,  Berlin,  is  her  “Roses 
and  Grapes.” 

Petersen,  John  E.  C.  {Dane.)  Bom  at  Copenhagen  (1839-1874). 
Studied  at  the  Academy  of  Copenhagen,  and  under  Melbye  and  Dahl. 
During  the  Schleswig-Holstein  war  he  served  as  an  officer  of  Danish 
infantry.  In  1865  he  went  to  America,  where  he  remained  during 
his  life.  There  was  an  exhibition  of  his  works  at  the  Boston  Art 
Club,  which  showed  his  progress  during  ten  years.  Some  of  these 
pictures  were  considered  cpfite  remarkable,  and  the  later  were  far 
superior  to  the  earlier  ones. 

Petri,  Heinrich.  {Ger.)  Born  at  Gottingen  (1834- 1871).  His- 
torical painter  at  Diisseldorf.  In  1858  he  went  to  Rome.  Among 
his  works  are  a “Mater  Dolorosa”  and  a laige  altar-picture,  for  a 
church  in  Portugal  ; a mural  painting,  in  a church  at  Wellbergen  in 
Westphalia  ; a decorative  work,  consisting  of  three  pictures,  in  a 
church  on  the  island  of  Nonnenwert,  near  Rolandseck  ; a “ Descent 
from  the  Cross  ” and  a “ Madonna,”  which  were  painted  for  the  Queen 
of  Holland  ; a “ Madonna  at  the  Cross,”  for  a church  in  Russia  ; etc. 
Petri  also  made  cartoons  for  glass  paintings,  and  supermtended  their 
execution.  His  portraits  were  excellent. 

Pettenkofen,  Auguste.  (Aits.)  Born  at  Vienna,  1823.  Cheva- 
lier of  the  Order  of  the  Crown  of  Oak.  Studied  at  the  Academy  of 
Vienna  at  a period  when  the  school  was  in  decadence.  At  length, 
after  passing  the  required  time  in  the  army,  where  he  became  a 
captain,  he  laid  aside  the  sword  for  the  brush.  He  studied  Wouver- 
mans,  Paul  Potter,  and  Van  de  Velde,  and  about  1851  went  to  Paris. 


ARTISTS  OF  TEE  NINETEENTH  CENTURY.  177 


While  there  he  painted  “ Soldiers  in  Wait  for  a Spy  at  the  Door  of 
a Cottage  ” and  “ Marauders  in  a Field  of  Grain  dividing  their 
Booty.”  The  last  was  purchased  for  the  collection  of  Sir  Richard 
Wallace.  M.  Van  Cuyck  so  admired  the  “ Marauders  ” that  he  gave 
the  artist  an  order  for  two  pictures,  “ Scene  after  a Duel  ” and  “ Hun- 
garian Volunteers.”  The  last  established  the  reputation  of  the  artist, 
and  was  sold  to  M.  Rone,  who  exhibited  it  at  the  Cercle  de  1’ Union 
Artistique.  But  M.  Van  Cuyck  regretted  the  picture  so  much  that  at 
length  he  repurchased  it,  saying  that  only  death  should  separate  him 
from  it.  After  his  decease  it  was  sold  to  a London  merchant,  who 
sent  it  to  Vienna.  At  length  it  was  purchased  by  M.  Sedelmeyer  for 
16,200  florins.  This  work  was  also  exhibited  at  the  Palais  Bourbon 
for  the  benefit  of  the  Alsaciens-Lorraines,  and  also  at  Vienna  in 
1873,  at  which  time  the  Emperor  of  Austria  decorated  the  painter  of 
it.  Among  the  works  of  Pettenkofen  may  also  be  mentioned,  “ A 
Hungarian  Village”  (in  the  Collection  Dreyfus),  “Gypsies  Bathing” 
(Baron  Liebig),  “ The  Market  of  Sznolnok  ” (the  architect  CEtgelt, 
Vienna),  etc.  He  has  also  executed  numerous  drawings  and  water- 
colors,  which  always  sell  for  high  prices.  He  now  resides  much  in 
Italy,  and  sends  out  no  pictures.  At  a Paris  sale,  in  1871,  “ A Hun- 
garian Market”  sold  for  ^ 228.  At  Paris,  in  1876,  “Hungarian 
Gypsies  ” sold  to  Herr  Kolbacher  of  Frankfort  for  5,360  francs.  At 
the  Oppenheini  sale,  Paris,  1877,  “Austrian  Cavaliers  passing  a 
Ford”  sold  to  the  Frankfort  Museum  for  5,400  francs.  In  1876,  at 
Vienna,  in  the  yearly  exhibition,  Pettenkofen  exhibited  a remarkable 
picture  of  a “ Market-Scene  in  Hungary.” 

Pettie,  John,  R.  A.  {Brit.')  Born  in  Edinburgh,  1839.  Re- 
ceived his  art  education  in  the  Trustees  Academy  and  in  the  Life 
Schools  of  the  Royal  Scottish  Academy,  exhibiting  his  first  picture, 
“ The  Prison  Pet,”  in  Edinburgh  in  1859.  Among  his  early  works 
are,  “False  Dice,”  “ Distressed  Cavaliers,”  “One  of  Cromwell’s  Di- 
vines,” etc.  He  first  exhibited  at  the  Royal  Academy  in  London  in 
1860,  “ The  Armorers,”  followed  by  “ The  Trio,”  “ The  Tonsure,”  and 
“ The  Drum-Head  Court-Martial  ” (which  attracted  much  attention, 
and  led  to  his  election  as  an  Associate  of  the  Royal  Academy  in  1867). 
In  1866  he  sent  “Arrest  for  Witchcraft”;  in  1868,  “The  Re- 
hearsal”; in  1869,  “ The  Disgrace  of  Cardinal  Wolsey”;  in  1870, 
“’Tis  Blythe  May-Day”;  in  1872,  “Terms  to  the  Besieged”;  in 
1873,  “Sanctuary’'  ; in  1874  (when  he  was  elected  Academician), 
“Juliet  and  Friar  Laurence”  ; in  1875,  “Jacobites,  1745”  (his  di- 
ploma work)  ; in  1876,  “The  Threat ’’and  “Home  Ties”  ; in  1877, 

“ Hunted  Down”  and  “ A Sword  and  Dagger  Fight  ” ; in  1878,  “A 
Member  of  the  Long  Parliament,”  “ Rob  Roy,”  and  “ The  Laird.” 

Among  Pettie’s  other  works  are  several  portraits  in  modern 
and  ancient  costume,  and  “ Battledoor,”  “ Persuading  Papa,”  “ Old 
Mother  Hubbard,”  “The  Visit  to  the  Necromancer,”  etc.  He  re- 
8* 


178  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


moved  to  London  in  1863.  To  Philadelphia,  in  1876,  he  sent 
“ Sanctuary,”  “ Touchstone  and  Audrey,”  a portrait  of  George  H. 
Boughton,  and  “ The  Smuggler  and  Exciseman”  (belonging  to  W.  P. 
Frith,  R.  A.)  ; to  Paris,  in  1878,  “ The  Flag  of  Truce,”  “ Terms  to 
the  Besieged,”  “ The  Threat,”  and  several  portraits. 

“ Without  exaggeration,  but  with  enough  of  synijiatlietic  treatment,  the  sentiment  of 
the  scene  [ ‘ The  Flag  of  Truce,’  R.  A.,  1873]  is  brought  home  to  the  spectator.  It  is  a 
story  on  cauvas,  well  and  clearly  told,  serious  in  its  import,  and  tenderly  pathetic  in  its 
influence.”  — AH  Jotirnaly  July,  1873. 

“ I have  been  examining  the  painting  of  the  chief  Jacobite  face  very  closely.  It  is 
nearly  as  good  as  a piece  of  old  William  Hunt,  but  Hunt  never  loaded  his  paint,  except 
on  sticks  and  mosses  and  such  like.  Now  there ’s  a wrinkle,  quite  essential  to  the  ex- 
pression, under  the  Jacobite’s  eye,  got  by  a projecting  ridge  of  paint,  instead  of  a proper 
dark  line.”  — Rusk  in's  Notes  of  the  Academy,  1875. 

Pfuhl,  Johannes.  {Ger.)  Born  in  Lowenberg,  1846.  Studied 
under  Schievelbein  in  Berlin.  With  no  hope  of  success  he  sent  in  for 
approbation  sketches  for  the  Uhland,  Goethe,  and  Stein  monument 
erected  at  Nassau.  The  decision  of  the  judges  gave  him  the  com- 
mission. His  success  was  such  that  he  also  received  a command  for 
an  elaborate  frieze  for  the  Cadet-hoiise  at  Lichterfelde.  Pfuhl  has 
visited  Italy.  He  has  also  executed  some  portrait  busts  and  a few 
ideal  subjects,  among  which  are  “ The  Inquisitive  Girl.”  In  Berlin, 
in  1876,  he  exhibited  a bust  of  Goethe  made  from  a mask  taken  when 
he  was  fifty  years  old,  a bust  of  Prince  Otto  von  Bismarck,  and  a por- 
trait bust  of  a woman. 

Phelps,  W.  P.  (Am.)  Bom  in  New  Hampshire.  Began  life  as 
a sign-painter  in  Lowell,  Mass.,  his  work  in  that  line  attracting  much 
attention.  Later,  he  devoted  himself  to  landscape  art,  entirely  with- 
out a master.  Through  the  kindness  of  several  Lowell  gentlemen  he 
was  enabled  to  go  to  Germany,  and  he  remained  three  years  in  Mu- 
nich under  Velten.  He  returned  to  Lowell  with  some  twenty  of  his 
landscapes,  all  of  which  met  with  ready  sale  ; two  companion  pieces, 
“ Morning  ” and  “ Evening,”  being  purchased  by  the  Art  Association 
of  that  city.  He  is  now  in  Munich,  where  he  is  likely  to  remain. 
His  “ Forest  Scene  near  Munich  ” and  “ Iklorning  ” and  “ Evening  ” 
were  at  the  National  Academy,  New  York,  in  1878. 

Philippoteaux,  F^lix-Emmanuel-Henri.  (Fr.)  Born  at  Paris, 
1815.  Chevalier  of  the  Legion  of  Honor.  Pupil  of  Cogniet.  The 
works  of  this  artist  are  seen  in  many  European  galleries.  “ Louis 
XV.  visiting  the  Battle-Field  of  Fontenoy”  is  at  the  Luxembourg. 
Many  of  his  subjects  are  military,  but  he  has  occasionally  painted 
other  pictures,  such  as  “ Deception,”  “ Return  from  the  Inn,”  “ Moor- 
ish Women,”  etc.  His  larger  works  are  so  numerous  that  no  proper 
list  can  be  given  here.  At  the  Royal  Academy,  London,  18 1 6,  he 
exhibited,  “ The  Charge  of  the  English  Heavy  Cavalry  at  the  Battle 
of  Balaklava”  ; in  1875,  “The  Charge  of  the  French  Cuirassiei-s  at 
Waterloo.”  Some  of  his  works  are  at  Versailles  ; and  “ The  Last 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  179 


Banquet  of  the  Girondins,”  at  the  Museum  of  Marseilles.  Philip- 
poteaux  has  made  many  designs  for  illustrated  publications. 

Phillip,  John,  R.  A.  [Brit.)  Born  in  Scotland  (1817-1867). 
Studied  and  practiced  drawing  at  home  under  many  discouragements 
until  1834,  when  he  made  his  first  visit  to  London  to  see  the  Ex- 
hibition of  the  Royal  Academy.  Through  the  kindness  of  influential 
Scottish  friends  he  was  enabled  to  enter  the  schools  of  the  Royal 
Academy  in  1837,  remaining  two  years.  Between  1839  and  ’41  he 
painted  portraits  in  Scotland,  when  he  settled  permanently  in  London, 
exhibiting  his  first  picture,  “ The  Catechism,”  in  the  Royal  Academy 
in  1847.  Later,  he  sent  “ The  Free  Kirk,”  “ The  Baptism,”  “ Draw- 
ing for  the  Militia,”  and  other  kindred  and  clever  studies  of  Scottish 
character.  He  went  to  Spain  in  1851,  in  ’52,  in  ’56,  and  ’60,  re- 
maining some  time  at  each  visit,  studying  enthusiastically  in  the 
Spanish  schools,  and  changing  visibly  the  style  of  his  own  ■work.  In 
1853  he  painted  his  “ Visit  to  the  Gypsy  Quarter  ” ; in  1854,  his 
“Andalusian  Letter- Writer ” (belonging  to  the  Queen).  His  “ Death 
of  the  Contrabandista  ” was  painted  in  1858,  shortly  after  his  election 
as  Associate  of  the  Royal  Academy.  He  was  made  Academician  in 
1859.  In  1860  he  painted  his  “ Marriage  of  the  Princess  Royal,”  a 
commission  from  the  Queen.  He  continued  to  paint  Spanish  pictures, 
of  which  he  was  very  fond,  and  in  ■\vhich  he  was  very  successful,  un- 
til his  death  in  1867.  In  1862  he  exhibited,  at  the  Royal  Academy, 
“ Dolores  ” and  “ A Spanish  Volunteer  ” ; in  1863,  “ Acqua  Bendita  ” ; 
in  1864,  “ La  Gloria,  — a Spanish  Wake  in  1865,  “ The  Early  Career 
of  Murillo  ” ; in  1866,  “ A Chat  round  the  Brasiers  ” ; in  1867,  “ An- 
tonio” and  two  Scottish  figure-pictures  ; “0  Nannie,  wilt  thou  gang 
with  me?”  and  “A  Highland  Lassie  Reading.”  His  “Doubtful 
Fortune,”  “Round  the  Brasiers,”  “ Dolores,”  and  “Wine-Drinkers” 
were  at  Paris  in  1878. 

“ Remembering  the  more  delicately  executed  and  more  carefully  composed  scenes 
with  which  Mr.  Phiilip  some  years  ago  founded  his  reputation  as  a painter  of  Spanish 
iife,  we  doubt  whether  the  briiiiant  ‘ Early  Career  of  Murillo,’  which  forms,  we  suppose, 
the  most  popuiar  success  of  the  Exhibition  [R.  A.,  1865],  will  be  valued  quite  as  highly 

when  its  first  charm  has  passed On  the  whole,  while  cordially  admiring  the  work, 

we  feel  that  this  is  rather  a case  in  which,  according  to  the  old  proverb,  ‘ accident  helps 
art  ’ than  .an  example  of  advancing  excellence."  — Palgrave’s  Essays  on  Art. 

" Philliii's  prominent  faults  were  an  amount  of  coarseness  and  an  absence  of  subtlety 
in  his  works.  His  merits  were  those  of  native  vigor,  and  of  the  acquisition  of  a rich 
and  mellow,  if  exaggerated,  type  of  fonn  and  color.  ....  The  Spectator  says, 
‘ Phillip,  with  a nice  discrimination  of  character,  had  a subtlety  ill  its  expression  which 
belonged  to  him  alone.’  ” — Mrs.  Tytler’s  Modern  Painters. 

Pickersgill,  Henry  W.,  R.  A.  (Brit.)  (1782-1875.)  Brought 
up  to  commercial  pursuits,  but  relinquished  business  for  art  while 
still  a young  man,  and  entered  the  Royal  Academy  in  1805.  In  the 
commencement  of  his  professional  career  he  devoted  himself  to  sub- 
jects of  historic  or  ideal  character  ; later,  tinning  his  attention  to  por- 


180  ARTISTS  OF  TEE  NINETEENTH  CENTURY. 


trait-painting,  in  which  branch  of  the  profession  he  was  popular  and 
successful.  He  had  among  his  sitters  many  distinguished  men  of 
Great  Britain,  including  Robert  Vernon  (painted  in  1846,  and  now  in 
the  National  Gallery),  Sir  John  Bo\vTing,  George  Peabody,  etc.  Mr. 
PickersgiU  was  elected  an  Associate  of  the  Royal  Academy  in  1822, 
and  Academician  in  1826,  Librarian  in  1856,  and  in  1873  he  was 
placed  on  the  list  of  Honorary  Retired  Academicians.  At  the  Na- 
tional Gallery  are  his  “ Nun  ” and  “ A Syrian  Maid.”  Among  his  later 
works,  e.xclusive  of  portraits,  are,  “ A Falconer  of  the  Olden  Time,” 
in  1861;  “The  Rivals,”  in  1862;  “The  Miu-der  of  Desdemon-a,”  in 
1864  ; “The  First  Lesson,”  in  1871  ; “The  Streamlet”  (his  last  ex- 
hibited work),  in  1872.  In  1870  he  sent  to  the  Royal  Academy  his 
portrait  of  the  Countess  Guiccioli,  painted  from  life  in  1832,  but 
completed  in  1869. 

PickersgiU,  Henry  H.  {Brit.)  Son  of  Henry  IV.  PickersgiU,  and 
an  historical  portrait-painter  of  some  promise,  who  died  in  1861.  He 
received  his  art  education  in  Germany  and  Italy,  and  resided  for 
some  time  in  St.  Petersburg,  spending,  however,  the  later  years  of  his 
life  in  England.  His  portraits  were  highly  regarded. 

PickersgiU,  Frederick  R.,  R.  A.  {Brit.)  Born  in  1820.  A 
relative  of  Henry  W.  PickersgiU,  R.  A.,  and  nephew  of  V.  Withering- 
ton,  whose  pupil  he  was.  He  entered  the  Royal  Academy  in  1840, 
exhibiting  the  next  year,  and  regularly  for  many  seasons.  He  was 
elected  an  Associate  of  the  Royal  Academy  in  1847,  and  Academician 
in  1857.  Among  his  early  works  may  he  noted,  “Amoret  delivered 
from  the  Enchanter,”  “ Britomartis  unveiling  Amoret,”  “ Sampson 
Betrayed,”  “Christ  blessing  Little  Children,”  and  others.  In  1861 
he  exhibited  “Frederick  banishing  Rosalind”  ; in  1862,  “ The  Re- 
turn of  a Crusader”  ; in  1863,  “Ferdinand  and  Miranda”;  in  1865, 
“Unfriended”;  in  1868,  “Columbus  at  Lisbon”;  in  1875,  “Old 
Letters.”  He  was  elected  Keeper  and  Trustee  of  the  Royal  Academy 
in  1874.  In  1843  he  received  a prize  at  the  first  Cartoon  E.xhibition 
for  his  “ Death  of  King  Lear.”  His  “ Burial  of  Harold  ” (in  the 
House  of  Parliament)  won  a prize  in  1847.  His  “ Amoret,  ^Enielia 
and  Prince  Arthur”  (R.  A.,  1845)  was  purchased  by  Mr.  Vernon, 
and  is  in  the  National  Gallery.  His  “ Death  of  Francesco  Foscari  ” 
was  in  the  collection  of  the  late  Prince  Albert. 

Picknell,  W.  L.  {Am.)  Born  in  the  State  of  Vermont,  about 
1852.  Went  to  Europe  in  1874,  studjung  with  Inness  in  Rome  two 
years,  and,  later,  for  a few  months,  under  Gerome  iir  Paris.  He  has 
lived  and  painted  in  Brittany,  working  under  Robert  Wylie  until 
the  time  of  that  artist’s  death.  To  the  Royal  Academy,  London,  in 
1877,  he  sent,  “Breton  Peasant-Girl  feeding  Ducks”  ; in  1875.  “ On 
the  Lande,  Brittany.”  To  the  Paris  Salon,  in  1878,  he  contributed 
“ The  Fields  of  Kerren.” 

Picot,  Francois-Edouard.  {Fr.)  Born  at  Paris  (1786-  1868). 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  181 


Member  of  the  Institute.  Officer  of  the  Legion  of  Honor.  Pupil  of 
Vincent  and  I’licole  des  Beaux-Arts.  Soon  after  his  debut  he  was 
commissioned  to  decorate  two  ceilings  at  the  Louvre,  where  he  exe- 
cuted some  grand  compositions.  He  has  also  painted  ceilings  in  the 
galleries  at  Versailles.  He  was  associated  with  Flandrin  in  the 
interior  decoration  of  the  church  of  Saint-Vincent  de  Paul. 

Pietrasanta,  Angelo.  {Ital.)  Born  at  Milan  (1836  - 1876).  Pu- 
pil of  Hayez  and  a pensioner  at  Rome.  On  his  return  to  Milan  he 
was  made  Honorable  Member  of  the  Academic  des  Beaux-Arts.  He 
executed  frescos  in  several  churches  in  the  neighborhood  of  Milan, 
and,  for  the  gallery  of  Victor  Emmanuel  in  that  city,  the  allegorical 
figures  of  Europe  and  Science.  His  drawing  was  very  correct.  At  the 
Villa  Oppenheim,  Florence,  he  painted  “Love  and  Psyche”  and  nine 
figures  of  women  of  the  time  of  Louis  XIV.  These  last  were  so  ad- 
mired that  he  had  several  orders  to  copy  them.  His  frescos  were  his 
best  works. 

Pille,  Henri.  {Fr.)  Born  at  Essommes  in  I’Aisne.  Medals  in 
1869  and  ’72.  Pupil  of  Francois  Barrias.  Many  of  his  pictures  are  his- 
torical and  familiar  scenes,  hut  whatever  he  paints  he  pays  great  atten- 
tion to  his  costumes  and  details,  and  renders  all  with  much  skill. 
He  exhibited  at  the  Salon  in  1870,  “ Sancho  recounting  his  Exploits  to 
the  Duchess”  and  “A  Cabaret  at  Todtnau”  ; in  1872,  “Autumn”  ; 
in  1873,  “Matrimonial  Accord”  and  “ The  First-Born  ” ; in  1874, 
“A  Pardon  near  Guemene  ” ; in  1875,  “ The  Reading  of  the  Decree 
of  February  24,  1793,  in  Brittany,”  “ Market  at  Antwerp,”  and 
“ Old  Clothes  ” ; in  1876,  “The  Morning  Interview,”  “ Intemperance,” 
and  “Sobriety”;  in  1877,  “An  Inn”  and  “A  Portrait.”  He  has 
also  exhibited  drawings  in  pen  and  ink,  which  are  excellent.  Among 
them  are,  “ Esmeralda,”  “ The  Fountain,”  “ The  Tithing,”  etc.  At 
the  Salon  of  1878  he  exhibited  a portrait  of  M.  Coquelin  as  he  ap- 
pears in  “ I’Ami  Fritz.” 

“ We  have  said  that  the  talent  of  Henri  Pille  is  eminently  s-piritud.  That  is  not  all, 
his  compositions  are  true,  they  liave  style.  ....  Style  is  a manner  of  right  seeing  and 
true  doing,  and  Henri  Pille  possesses  this  manner ; and  in  such  a degree  that  lie  has 
known  how  to  make  it  of  value  in  genre  jiainting,  where  the  savoir-faire  seems  sufficient 
to  the  great  number.  More,  his  painting  is  fundamentally  honest,  calm,  frank,  placid, 
like  himself  ; for  after  speaking  of  the  painter  it  is  necessary  to  speak  also  of  the  man. 

A dreamer,  doubled  by  an  observer  ; a character  modest  and  simple Let  us  say 

the  word,  he  is  a jieasant  in  appearance.  But  whoever  regards  him  with  the  attention 
which  he  merits  will  soon  see  that  his  small,  brilliant  eyes  reflect  a sagacious  mind,  and 
that  his  lips  are  elegantly  retroiissees  with  a finely  railleuse  expression.  He  is  endowed 
with  a prodigious  memory.  One  of  his  friends  tells  us  that  having  been  with  him  to  the 
theater,  he  saw  him  the  next  day,  while  making  his  reflections  on  the  intrigues  and  the 
whole  effect  of  the  play,  design  with  rigorous  exactness  the  costumes  of  the  actors  in  their 
least  details,  imiicating  the  colors  and  the  shades.'’ — Charles  Flor,  Galerie  Contem- 
poraine,  Litteraire  Artistique,  1877- 

Piloty,  Carl  Theodor  von.  {Ger.)  Born  at  Munich,  1826. 
Member  and  Professor  of  the  Academy  of  Munich.  Medal  at  Paris 


182  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


in  1867.  After  studying  under  his  father  he  entered  the  Academy  cf 
Munich,  and  pursued  his  studies  under  the  direction  of  his  hrother-in- 
law,  Charles  Schorn.  Piloty  visited  Paris,  England,  and  Brussels. 
Upon  his  return  to  Munich  he  was  commissioned  by  Maximilian  I.  to 
paint  for  the  Maximilianeum  a large  historical  work,  “ The  Elector 
Maximilian  I.  adhering  to  the  Catholic  League  in  1609.”  This  paint- 
ing was  completed  in  1854,  and  gained  Piloty  much  reputation,  to 
which  the  seal  was  set  in  the  following  year  by  his  picture  of  “ Seni 
before  the  Dead  Wallenstein.”  Among  his  other  works  are,  “ The 
Battle  of  the  White  Mountain,  near  Prague,”  “ The  Murder  of  Wal- 
lenstein,” “Galileo  in  Prison”  (1864),  “Wallenstein  marching  against 
Eger  ” (seen  at  the  Paris  Exposition  of  1878),  mural  paintings  on  the 
exterior  of  the  Maximilianeum,  portrait  of  the  Baron  de  Schack,  a 
chef-d’ceuvre,  a large  representation  of  the  “ Discovery  of  America,” 
and  “Henry  VIII.  and  Anne  Boleyn.” 

As  an  instructor,  Piloty  has  been  very  successful,  and  large  numbers 
of  pupils  have  gathered  about  him.  He  is  a prominent  representative 
of  tbe  modern,  realistic  German  school.  His  “ Xero  walking  among 
the  Ruins  of  Rome  ” is  marvelous  in  the  intensity  of  its  realism.  His 
“Thusnelda  at  the  Triumph  of  Germanicus  ” was  purchased  by  the 
Emperor  of  Germany  for  35,000  florins,  and  placed  in  the  Pinakothek 
at  Munich.  Mr.  Probasco  of  Cincinnati  owns  his  “ Elizabeth  and 
Frederick  of  Bohemia  receiving  News  of  the  Loss  of  the  Battle  of 
Prague,”  painted  in  1868. 

“In  even  the  best  paintings  of  Piloty,  who  is  pre-eminently  an  historical  painter,  there 
is  often  perceptible  a certain  theatrical,  sensational  effect  in  the  composition  which  takes 
away  from  its  naturalness.  His  ‘ Columbus  ’ offends  verj'  strongly  in  this  respect : 

‘ Thusnelda  at  the  Triumph  of  Germanicus,'  his  most  ambitious  work,  is  perhaps  more 
satisfactory  ; while  ‘Seni  discovering  Wallenstein  Dead’  is  more  simple,  and  is  un- 
doubtedly a work  of  great  power.  ....  Piloty  has  founded  a schooL  He  achieved  his 
fame  and  influence  early  ; but  so  rapidly  has  German  art  rii>ened  of  late  years,  that  he 
has  lived  to  see  the  scepter  pass  from  his  hand.  Such  is  the  fate  of  all  reformers.  The 
genius  which  entitles  them  to  our  veneration,  and  increases  the  world’s  stock  of  culture 
and  progress,  so  tends  to  educate  the  rising  generation  that  the  very  efforts  which  placed 
them  on  so  liigh  a point  aid  to  carry  their  pupils  still  higher  and  beyond  them.  We  can- 
not, perhaps,  ascribe  to  Piloty  original  powers  equal  to  those  of  Kaulbach  or  of  some  of 
the  rising  school.  But  there  is  some  brilli.ant  work,  notwithstanding,  in  a painting 
which  he  is  now  executing  for  the  new  Rathhaus,  or  City  Hall,  of  Munich,  for  which  he 
is  to  receive  50,000  florins  ; a large  sum  for  Germany.  It  is  an  allegorical  representation 
of  the  city,  and  contains  portraits  of  all  her  citizens  who  have  been  distinguished  in  her 
past  history.  It  seems  thus  far  to  contain  more  of  the  good  qualities  of  his  style  and 
less  of  the  faults  of  his  other  works.” — Benjamin-,  Contemporary  Art  in  Europe. 

“ In  Piloty's  much-admired  picture  of  ‘ The  Death  of  Wallenstein,’  the  truth  with 
which  the  carpet,  the  velvet,  and  all  other  accessories  are  painted,  is  certainly  remark- 
able ; but  the  falsehood  of  giving  prominence  to  such  details  in  a picture  representing 
the  death  of  Wallenstein,  as  if  they  were  the  objects  which  could  possibly  arrest  our  at- 
tention and  excite  our  sympathies  in  such  a spectacle,  is  a falsehood  of  the  realistic 
school.  If  a man  means  to  paint  upholsterj",  by  all  means  let  him  paint  it  so  as  to  de- 
light and  deceive  an  upholsterer  : but  if  he  means  to  paint  a human  tragedy,  the.  uphol- 
sterer must  be  subordinate,  and  velvet  must  not  draw  our  eyes  away  from  faces.”  Mr. 
Lewes,  Fortnightly  Review. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  183 


In  this  art,  whatever  be  its  worth,  Piloty  is  a master,  — what  a baton  is  to  the  con- 
ductor of  an  orchestra,  what  a bow  is  to  the  leader  of  violins,  such  is  the  brush  in  the 
hands  of  this  painter.  Manipulation  so  dexterous,  and  for  detail  so  minute,  does  not 
stop  with  the  delineation  of  form  : it  goes  on  even  to  the  illusive  imitation  of  surface. 
Texture  is  got  by  loaded  solid  paint,  transparency  by  thin  liquid  wash.  As’ an  example 
of  the  former  method,  look  at  the  ciminbling  and  calcined  ruins  of  Nero's  Golden  House. 
Gaze,  too,  when  next  in  Munich,  on  the  glitter  of  that  diamond  ring  which  dazzles  on 
the  hand  of  Wallenstein.”  — J.  Beavington  Atkinson,  Art  Journal^  October,  1865. 

Pils,  Isidore  Alexandre  Augustin.  {Fr.)  Bom  at  Paris  (1813 - 
1875).  Memlier  of  the  Institute.  Officer  of  the  Legion  of  Honor, 
and  Professor  in  I’Ecole  des  Beaux-Arts.  Pupil  of  Picot,  and  a grad- 
uate of  I’Ecole  des  Beaux-Arts.  In  1838  his  picture  of  “ St.  Peter 
healing  the  Cripple  at  the  Gate  of  the  Temple  ” won  for  him  the 
grand  frix  de  Rome.  After  his  studies  in  Rome  he  traveled  consider- 
ably, and  went  to  the  East  during  the  Crimean  war,  where  he  made 
studies  for  some  of  his  most  notable  pictures.  That  this  painter  suc- 
ceeded in  addressing  himself  to  popular  favor  in  France  cannot  be 
doubted,  when  we  remember  the  honors  bestowed  upon  him  ; but  his 
works  are  open  to  severe  criticism,  and  this  has  not  been  wanting.  His 
principal  works  are,  “Christ  preaching  in  Simon’s  boat”  (1846); 
“ Death  of  Mary  Magdalene  ” (1847),  purchased  by  the  Minister  of  the 
Interior  ; “ Bacchantes  and  Satyrs  ” (1848)  ; “ Eouget  de  I’Isle  sing- 
ing the  Marseillaise  for  the  first  Time”  (1849) ; “Death  of  a Sister 
of  Charity”  (1850)  ; “The  Athenian  Slaves  at  Syracuse”  (1852)  ; 
“Prayer  at  the  Hospital”  (1853);  “A  Trench  before  Sebastopol” 
(1855) ; “ Disembarking  of  French  Troops  in  the  Crimea”  (1858)  ; “ De- 
file of  Zouaves  in  the  Trench  before  Sebastopol  ” ; “ School  of  Musketry 
at  Vincennes”  (1859)  ; “Battle  of  Alma”  (1861),  purchased  for  the 
Minister  of  State,  — a chef-d’ceuvre,  the  work  rvhich  in  the  future  will 
give  him  the  most  fame  ; “ Fete  given  to  the  Emperor  and  Empress 
at  Algiers  in  1860  ” (1867)  ; and  many  pictures  in  aquarelle  which  we 
have  not  space  to  enumerate.  The  four  paintings  in  the  vault  over 
the  great  staircase  in  the  New  Opera  House  are  by  Pils. 

“The  most  coarse  and  truly  vulgar  of  military  painters  is  Pils,  whose  glaring  daubs, 
of  gigantic  dimensions,  are  liberally  purchased  by  the  government,  whilst  their  author 
receives  the  honors  of  his  profession.  The  reader  may  remember  a picture  by  him  in 
the  Exhibition  of  1867,  rejireseuting  a reception  of  Algerian  chiefs  by  the  Emperor  and 
Empress  of  the  French.  I have  never  seen  so  perfect  an  instance  of  this  particular  kind 
of  art-degradation.  Painters  have  often  before  condescended  to  flatter  the  pride  of  pow- 
erful sovereigns,  but  the  adulation  has  been  accompanied  by  art.  In  this  instance  the 
picture  was  as  much  painting  in  the  true  sense  as  the  reports  of  the  same  scene  by  the 
government  penny-a-liners  were  literature  ; the  fierce  glare  of  the  colors  corresponded  to 
the  ardors  of  the  bought  journalist.  In  another  picture  of  nearly  equal  dimensions  are 
a company  of  colossal  riflemen  sprawled  on  their  bellies  in  the  foreground,  displaying  a 
row  of  gaiters  and  shoes,  with  odd  results  to  the  grace  of  the  composition.”  — Hameb- 
ton’s  Contemporary  Fren^  Painters. 

“ M.  Pils  paints  soldiers  with  manly  simplicity,  without  bluster  and  artificial  swag- 
gering. He  jiuts  a soul  under  their  uniform,  and  gives  each  one  a character You 

can  examine  them  one  by  one,  they  all  interest  you  ; they  live,  they  think,  and  they  act." 
— Theophile  Gautier,  Abecedaire  du  Salon  de  ISGl. 


184  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


" By  a singular  and  rare  privilege,  that  which  Fils  said  of  his  master  can  be  applied 
exactly  to  himself : and  we  know  not  how  to  better  close  this  notice  than  to  borrow  of  him 
the  lines  whicli  he  has  consecrated  to  M.  Picot ; ‘ He  had  neither  pride  nor  vanity ; he 
never  spoke  of  himself  or  of  liis  works  ; tills  soul,  so  honestly  bom,  so  sincerely  good  and 
instinctively  wortliy,  had  no  need  of  any  sort  of  mask  in  order  to  make  itself  resiiectei 
He  spoke  not  willingly  of  art,  and  took  pity  on  the  declaimei-s  on  this  subject  His  love 
for  art  was  so  profound  that  words  seemed  to  him  powerless  to  express  it.  All  insuffi- 
cient expression  seemed  to  him  a profanation.’  I repeat  it.  Fils  is  a French  artist  in  the 
most  rigorous  acceptation  of  tlie  term.  An  artist,  lie  possessed  all  the  beautiful  quali- 
ties, — tlie  genius,  the  warmth,  tlie  disinterestedness.  Freucli  he  was  also,  by  his  emi- 
nent qualities  as  a designer  ; ids  sketcliing  was  bold,  spirituel,  very  skillful  in  lightness, 
and  full  of  freedom He  never  made  merchandise  of  his  art,  or  sjieculated  on  his  tal- 

ent. He  demanded  of  liis  natural  gifts  only  the  translations  of  tlie  conceiition  of  his 
tliouglit,  or  the  dreams  of  his  imagination,  without  disturbing  Iiimself  with  the  demands  of 
fashion  or  tlie  fonduess  of  the  multitude.  He  was  never  preoccupied  witli  makinga  fortune. 
After  having  been  one  of  the  mastei-s  of  tlie  French  scliool,  after  enjoying  a fame  whicli 
to  the  clever  or  the  complaisant  brings  infallibly  riches,  he  died  iioor,  very  poor.  I know 
no  better  eulogy  to  give  Iiim.  A French  painter,  his  talent  had  the  grand  national  quali- 
ties,— simplicity,  neatness,  brilliancy.  His  legitimate  ancestors  are  Lelirun,  Jouvenet, 
Lemoine,  Natoire,  Gros,  Gerard,  Gericaiilt  He  had  the  power  to  take  liis  inspirations 
or  demand  his  instructions  in  Germany  or  Flanders,  in  Spain  or  at  Genoa.  The  tradi- 
tions of  his  countiy  appeared  to  be  sufficient  for  him  ; he  remained  indissolubly  at- 
tached to  it,  — a merit  more  rare  tiian  one  thinks  in  tliese  times.  In  studying  attentively 
our  conteinporaneoiis  art,  one  discovers  some  exotic  cuiTents,  some  foreign  intrusions, 
some  influences  in  antipatliy  to  tlie  national  temperament ; and  this  state  of  things 
allows  us  only  to  reflect  sadly  enougli  upon  whoever  has  it  at  heart  to  maintain  in  France 
tlie  preponderance  in  works  of  taste.  It  is  our  last  superiority  ; let  us  not  compromise  it ; 
let  us  sustain  it  with  ail  tlie  ardor  of  filial  piety.  From  tills  side,  perhaps,  the  rising 
again  and  tlie  salvation  will  come.  Fils  would  have  raised  a warning  finger  to  those 
who  follow  us  ; he  can  take  his  rest  ” — L.  CLfiMENT  de  Ris,  Gazette  das  Beaux- A rts, 
December,  1875. 

“ He  wislied  to  consecrate  the  last  years  of  his  life  of  suflering  to  a work  which  should 

class  him  among  the  painters  of  history Fils  deceived  himself ; he  was  not  bom 

for  grand  mythological  painting.  He  was  well  aide  to  make  his  zouaves  scale  tlie 
heiglits  of  Alma,  but  the  suniinits  of  Olympus  are  not  taken  by  .assault.  His  figures 
were  too  heavy  to  sustain  tlieinselves  on  the  golden  clouds  of  the  Homeric  heaven.  His 
qualities  of  life,  of  movement,  of  picturesqueness,  liis  lively  feeling  for  the  modem  mili- 
tary  type,  whicli  is  tlie  characteristic  of  his  talent,  only  hindered  liini.  To  succeed  in 
this  new  genre,  it  was  necessary  to  become  anotlier  painter,  — to  be  transfomied.  That 
is  what  he  did  ; tlie  metamorphosis  avas  sad.  He  was  Isidore  Fils ; lie  was  a painter  like 
so  many  others,  skillful,  ingenious,  experimental,  but  stripped  of  originality,  of  power, 
of  nobility.  Happily  for  this  valiant  artist,_the  paintings  at  the  Opera  will  soon  have 
been  forgotten,  also  tlie  Arab  Chiefs  and  the  Holy  Tliursday  : he  avill  be  remembered  as 
the  painter  of  Alma,  — tliat  n.ame  wliich  so  afflicted  Fils,  but  the  only  one  by  which  he 
will  be  known  to  posterity.”  — Henry  Houss.vve,  Revue  dcsDcnxiTmdes,  Febmary,  1S76. 

Pilz,  Vincenz.  {Bohemian.)  Bom  at  Warn.sdorf,  1819.  Pupil  of 
the  Academy  of  Vienna.  In  1849  he  went  to  Rome,  and  remained 
until  1855.  Among  his  works  are  a relief  of  “ The  Descent  from  the 
Cross,”  in  the  chapel  of  the  Princess  of  Lichtenstein;  “Twelve  Apos- 
tles,” for  a castle  in  Grafenegg  ; a bronze  group  of  “ IVissenschaft  und 
Handel,”  sent  by  the  Emperor  of  Austria  to  Queen  Victoria,  now  at 
Windsor  Castle;  statue  of  Hannibal,  for  the  Arsenal  at  Vienna;  and 
numerous  portrait  busts  and  statues. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  185 


Pinwell,  George  John.  (Brit.)  Bom  in  London  (1842-1875). 
Educated  at  the  Heathly  School  of  Art.  Originally  devoted  his  time 
to  wood-engraving  for  book  illustrations,  manifesting  a decided  talent 
in  that  branch  of  art.  He  was  elected  an  Associate  of  the  Society  of 
Painters  in  Water-Colors  in  1869,  contributing  frequently  to  the  ex- 
hibitions in  Dudley  Gallery  until  1871,  when  be  was  made  a full 
member,  but  failing  health  prevented  his  active  work  after  that  time. 
In  186.9  he  contributed  “ The  Pied  Piper  of  Ilamelin  ” and  “ A Seat 
in  St.  James’  Park  in  1870,  “ The  Elixir  of  Love  in  1871,  “Away 
from  Town”;  in  1872,  “The  Saracen  Maiden”  and  “The  Strolling 
Player.”  He  illustrated  Jean  Ingelow’s  Poems,  Buchanan’s  “Ballads 
of  the  Affections,”  Dalziel’s  “ Wayside  Posies,”  etc.  Many  of  his 
sketches  and  studies  were  exhibited  in  London  in  the  winter  of 
1876. 

" Pinwell  painted  some  of  the  most  pathetic  of  modern  popular  pictures,  but  we  think 
he  did  too  mucli  to  do  all  things  well,  and  that  the  shortcomings  of  his  art  were  in  jiart 
due  to  lack  of  balance  in  his  technical  juilgment,  as  well  as  to  his  need  of  severer  train- 
ing than  it  has  been  his  lot  to  receive.”  — London  Athenatum,  September,  1875. 

“ In  all  he  [Pinwell]  has  shown  himself  a man  of  earnest  thought,  and  an  artist  who 
would  win  the  applause  of  tliose  who  think,  rather  than  of  those  who  are  attracted  by 
qualities  more  on  the  surface  than  underlying  the  subject.” — London  Art  Journal, 
July,  1873. 

Place,  Henri.  (Fr.)  Born  at  Paris  about  1820.  Chevalier  of  the 
Legion  of  Plonor.  A painter  of  still-life  and  marines.  His  “ Marine- 
Cliffs  of  Dover  ” (1849)  is  in  the.  Luxembourg. 

Plassan,  Antoine  Emile.  (Fi-.)  Born  at  Bordeaux.  Chevalier 
of  the  Legion  of  Honor.  Medal  at  Philadelphia,  where  he  exhib- 
ited “Before  the  Mirror.”  At  the  Wilson  Exposition,  Brussels, 
1873,  “The  Breakfast”  was  much  admired.  At  the  Walters  Gallery, 
Baltimore,  are  several  of  his  pictures  ; among  them  the  “ Bourgeois 
Gentilhomme  ” is  a spirited  and  characteristic  work,  and  “ A Sleeping 
Girl ” is  very  charming.  At  the  Salon  of  1877  he  exhibited  “Con- 
templation ” and  “A  Beading.”  At  the  Johnston  sale.  New  York, 

1876,  “ The  Physician’s  Visit  ” (4  by  3)  sold  for  $ 450,  and  “ The  Old 
Bachelor”  (6  by  4)  for  $ 280.  At  the  Salon  of  1878  he  exhibited 
“The  Family  of  Viscount  C.  ” and  “Le  jour  des  rameaux.”  His 
“ Table  Supplies  ” is  in  the  collection  of  Mr.  T.  R.  Butler  of  New 
York. 

Plassman,  Ernest.  (Ger.-Am.)  Born  in  Westphalia.  Died  in 

1877.  Plassman  removed  to  America  about  1850,  and  followed  the  oc- 
cupation of  a modeler  of  statuary  for  many  years  in  New  York.  He 
was  the  founder  of  the  Society  of  Art,  a flourishing  association  of 
German  artists  and  art-lovers  in  New  Yoik.  Among  the  better 
known  of  Plassman’s  works  are  the  statue  of  Franklin,  in  Printing- 
House  Square,  New  York  ; the  Vanderbilt  statue,  in  the  Freight 
Depots  on  Hudson  Square  ; and  the  statue  of  Gutenberg,  on  the 
building  of  the  New  York  “ Staats  Zeitung.” 


186  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Plockhorst,  Bernhard.  (Ger.)  Bom  at  Branswick,  1825.  Medal 
at  Berlin.  Professor  at  Weimar,  1866-69.  Studied  at  Munich 
Academy ; was  associated  with  Piloty  ; also  studied  under  Couture 
at  Paris.  He  painted  an  altar-piece  for  the  Cathedral  at  Marienwer- 
der.  Most  of  his  historical  subjects  are  religious  ; those  best  known 
are,  “ Mary,  with  St.  John,”  and  “St.  Michael  and  Satan  struggling 
for  the  Body  of  Moses.”  These  have  been  engraved.  His  portraits 
are  his  best  works.  At  the  National  Gallery  at  Berlin  are  those  of 
the  Emperor  and  Empress  of  Germany.  At  the  Leipsic  Museum  are 
two  of  his  religious  subjects. 

Pointelin,  Auguste-Emmanuel.  (Fr.)  Born  at  Arbois.  Pupil 
of  Maire.  Medal  of  the  third  class  in  1878,  when  he  exhibited  “ A 
Prairie  in  the  Cote-d’Or”  ; in  1877,  “A  Valley  in  the  Jura”;  in 
1876,  “ On  a Plateau  of  the  Jura,  — Autumn.” 

Poittevin,  Eugene  le.  (Fr.)  Born  at  Paris  (1806- 1870).  Chev- 
alier of  the  Legion  of  Honor,  and  of  the  Belgian  Order  of  Leopold. 
Pupil  of  I’Ecole  des  Beaux-Arts  and  Louis  Hersent.  He  traveled 
much  on  the  Continent  and  in  England.  His  subjects  were  varied. 
In  the  Luxembourg  is  a “ View  near  Etretat  in  the  Bathing-Season  ” 
(1870);  at  Versailles,  “ The  Capture  of  Baruth,”  “ Naval  Engagement 
at  Embro,”  “ The  Battle  of  Wertingen,”  and  other  maritime  subjects. 
Among  his  works  are,  “The  Turkey- Drover”  (1853),  “Winter  in 
Holland”  (1855),  “Dutch  Pilots”  (1859),  etc.  At  the  Johnston  sale, 
1876,  “Lighthouse,  Coast  of  Holland”  (48  by  35)  sold  for  $1,300. 
At  the  Leipsic  Museum  is  his  “Fishermen  saving  a Wreck.” 

“ Upon  even  his  most  ordinary  subjects  II.  le  Poittevin  bestowed  the  utmost  care. 
His  touch  is  decided,  his  general  manner  broad,  and  in  his  color  the  utmost  harmony 
]irevails,  combined  with  a brilliancy  seldom  seen  in  the  works  of  French  landscape  and 
marine  painters.  Thus  his  execution  may  be  traced  to  the  works  of  the  Dutch  and 
Flemish  artists,  white  his  compositions  show  more  point  and  anecdote  than  are  gener- 
ally found  in  the  latter.  For  his  well-earned  and  duly  merited  reputation,  he  was  ern- 
dently  indebted  to  his  close  and  continual  observation  of  nature  ; studying  not  only  in 
his  atelier,  but  yet  more  in  the  gi-een  fields  and  by  the  open  sea,  where  humanity  was 
busied,  and  where  character  was  to  be  found  : for  figures,  as  a rule,  play  even  a more 
important  part  in  his  pictures  than  do  the  inanimate  objects  amid  which  they  are 
placed.”  — AH  Journal,  October,  1S70. 

Pollastrini,  Enrico.  (Ital.)  Born  at  Leghorn  (1817  - 1876). 
Professor  in  the  Academy  of  Florence,  and  a member  of  several  other 
Academies.  Pupil  of  Bezzuoli.  He  was  original  in  conception,  correct 
in  drawing,  and  a good  colorist.  Among  his  best  works  are,  “The 
Raising  of  the  Son  of  the  Widow  of  Nain,”  in  the  church  of  the  Soc- 
corso  at  Leghorn  ; an  “ Episode  of  the  Inundation  of  the  Serchio,” 
in  the  Gallery  of  Modern  Painting  at  Florence  ; the  “ Death  of  Fer- 
ruccio ” ; the  “ Exiles  of  Siena  ” ; “ San  Lorenzo  distributing  Alms  ” ; 
and  the  “ Battle  of  Legnano.” 

Poole,  Paul  Falconer,  R.  A.  (Brit.)  Bom  in  1818.  Studied 
art  without  a master  and  in  none  of  the  established  schools,  exhibit- 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  187 


ing  his  first  picture  at  the  Royal  Academy,  London,  in  1 830,  “ The 
Well,  — a Scene  at  Naples.”  In  1837  he  sent  to  the  Royal  Acad- 
emy, “The  Farewell”;  in  1838,  “The  Emigrants’  Departure”  ; in 
1843,  “ The  Great  Plague  of  London.”  In  1846  (when  he  was 
elected  Associate)  he  exhibited  “ The  Surrender  of  Sion  House  in 
the  Reign  of  Henry  VIII.  ” ; in  1851,  “ The  Goths  in  Italy  ” ; in  1852, 
“The  May  Queen”  ; in  1860,  “ The  Escape  of  Glaucus  and  lone  from 
Pompeii”  ; in  1864,  “Greek  Peasants”  ; in  1865,  “The  Eruption  of 
Vesuvius,  A.  D.  70”;  in  1868,  “A  Border  Raid”;  in  1869,  “The 
Prodigal  Son”;  in  1872,  “Remorse”  (his  diploma  work)  ; in  1873, 
“A  Lion  in  the  Path”  ; in  1874,  “The  Grape-Gatherer”  ; in  1875, 
“ Ezekiel’s  Vision  ” ; in  1876,  “ The  Meeting  of  Oberon  and  Titania”  ; 
in  1877,  “ Leading  the  Blind,”  “The  Dragon’s  Cavern,”  and  “Au- 
tumn ” ; in  1878,  “Solitude”  and  “Harvest-Time.”  He  was  elected 
Academician  in  1862. 

“Mr.  Poole’s  drawing  we  fear  will  be  to  the  end  of  time  a stumbling-stone,  not 
only  to  his  friends,  but  to  his  reputation  ; but  his  scene  from  Pompeii  during  the  eruption 
fR.  A.,  1S65]  is  filled  with  well-imagined  incidents,  and  renders  vividly  the  effect  of  that 
lurid  and  preternatural  light  which  would  arise  when  a midday  Southern  sun  is  veiled 
by  clouds  of  ashes,  and  reddened  by  stealthy  interminglings  from  Vesuvian  fire.”  — 
Palgrave's  Essays  on  Art. 

“ There  is  no  artist  of  our  time  who  has  acquired  greater  success  by  such  realistic  pic- 
tures as  this  [‘  Rest  by  the  Way  ’]  than  Mr.  Poole.  He  has  produced  many  of  them,  but 
it  is  not  by  these  that  he  has  won  his  way  into  the  Royal  Academy.  The  painter  of 
■ Solomon  Eagle  ’ (‘  The  London  Plague  ’),  of  ‘ The  Moors  beleaguered  by  the  Spaniards  in 
Valencia,’  ‘ The  Visitation  and  Surrender  of  Sion  House,”  and  many  other  pictures  of  a 
like  high  character,  takes  up,  it  may  be  presumed,  these  pretty  rural  scenes  by  way  of 
relief  from  the  more  important  labors  of  his  studio”  — Art  Journal,  November,  1874. 

“ ‘ The  Lion  in  the  Path,’  by  P.  F.  Poole  [American  Centennial  Exhibition,  1876],  is  a 
landscape  of  great  strength  and  color.  ....  The  colors  in  it  are  so  strong  and  deep  that 
it  is  really  a great  piisture.”  — Art  Journal,  July,  1876. 

“ There  has  always  been  in  Mr.  Poole’s  work  some  acknowledgment  of  a supernatural 
influence  in  physical  phenomena,  which  gives  a nobler  character  to  his  storm  painting 
than  can  belong  to  any  merely  literal  study  of  the  elements.”  — UnsKi's’s  Notes  of  the 
Academy,  1875. 

Porcelli,  Antonio.  (Ital,)  (1800-1870.)  Distinguished  in  land- 
scape and  figure  painting.  He  imitated  Flemish  art  with  Italian 
ideality.  A fine  work  of  his  is  “ The  Fountain  Dell  Acqua  Autosa, 
close  to  the  Flamminian  Way,  with  a Concourse  of  People.”  “ The 
Cobbler’s  Monday  ” was  purchased  by  the  Emperor  of  Russia.  He 
painted  numerous  carnival  scenes  and  kindred  subjects,  as  well  as 
“ The  Pine  Forests  of  Ravenna  ” and  other  fine  landscapes.  His 
water-colors  and  drawings  are  much  prized. 

Portaels,  Jean  Franqois.  {Belgian.)  Born  at  Vilvorde,  1820. 
Chevalier  of  the  Order  of  Leopold.  Member  of  the  Antwerp  Academy. 
Director  of  the  Academy  of  Ghent,  and  later  Professor  in  that  of 
Brussels.  Medal  at  Paris,  1855.  Pupil  of  Navez  at  Brussels,  and  of 
Delaroche  at  Paris.  At  Antwerp,  in  1842,  he  gained  the  grand  prix  de 
Rome.  Portaels  has  traveled  in  Italy,  the  East,  Hungar}’,  Spain,  and 


188  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


other  European  countries.  Among  his  well-known  works  are,  “ The 
Flight  into  Egypt,”  “ The  Drought  in  Egj^pt  ” (in  the  Corcoran  Gallerj' 
at  Washington),  “ The  Funeral  in  the  Desert,”  “A  Syrian  Caravan  sur- 
prised by  the  Simoom  ” and  “ Leah  and  Rachel.”  The  pediment  of 
the  church  of  Saint- Jacques  at  Brussels  is  adorned  by  frescos  of  Por- 
taels,  representing  Christianity.  Another  fresco  by  him  is  in  the 
chapel  of  the  Brothers  of  the  Christian  Doctrine,  and  in  the  Tympa- 
num of  the  Royal  Theater  at  Brussels  is  another  of  a dramatic  subject. 
His  portraits  are  famous,  among  them  those  of  Mehemet-Ali,  the 
Empress  of  Mexico,  the  Queen  of  Holland,  etc.  His  ideal  portraits, 
such  as  “ A Young  Girl  of  Trieste,”  “Glycine,”  “ An  Eastern  Girl,” 
and  “A  Jewess  of  Asia  Minor,”  are  much  admired.  At  the  Cottrell 
sale  in  London,  in  1873,  “ The  Daughter  of  Zion  ” sold  for  710  guineas. 
At  the  Paris  Salon,  in  1877,  he  exhibited  “Portrait  of  M.  P.  D.” 
His  picture  of  “Judith”  is  a pleasing  conception  of  this  well-worn 
subject. 

Porter,  Benjamin  Curtis,  A.  N.  A.  (Am.)  Bom  in  Melrose, 
Mas.s.,  1843.  As  an  artist  he  is  comparatively  self-educated.  He  has 
spent  the  better  part  of  his  professional  life  in  Boston,  where  of  late 
years  he  has  devoted  himself  almost  exclusively  to  portrait-painting, 
and  with  marked  success,  numbering  among  his  sitters  many  promi- 
nent people  of  Boston  a7id  vicinity.  He  went  abroad  in  1872,  and  again 
in  1875,  to  study,  spending  some  months  in  Venice  and  Paris.  In 
1878  he  was  elected  an  Associate  of  the  National  Academy  in  New 
York.  Among  his  ideal  figures  are,  “ The  Hour-Glass  ” and  “ The 
Mandolin  Player.” 

“ Mr.  Porter  has  placed  himself  in  a high  position  by  close  and  persistent  study  of  the 
fundamental  principles  of  his  art.  The  secret  of  his  color,  which  commands  so  much 

admiration,  is  the  tone  which  governs  its  value But  it  is  not  color  alone  that 

gives  so  much  importance  to  this  artist’s  productions,  nor  is  it  his  general  master)’  of 
technique  ; there  is  in  his  works  a depth  and  purity  of  sentiment,  an  undemonstrative 
tiioughtfulness,  which  gives  them  a peculiar  charm,  and  which  makes  of  them  some- 
thing much  higher  than  pieces  of  color.  We  see  in  both  his  portraits  and  ideal  works 
tlie  jiainter  of  refined  and  poetic  feeling,  one  who  can  conceive  a subject  of  expressive 
beauty  and  so  develop  it  with  wealth  of  palette  and  richness  of  impasto,  that  it  shall 
pain  in  meaning  as  the  execution  progresses.  The  full-length  portrait  of  a lady  which 
Mr.  Porter  has  sent  by  invitation  to  the  Paris  Exposition  [of  1S7S]  is  a marked  example 
of  his  power  of  combining  magnificence  of  color  with  chaste  design  and  elevated  feeling. 
Mr.  Porter  is  of  no  school,  and  therefore  this  picture  will  take  its  place  in  the  exhibi- 
tion as  essentially  an  American  production.”  — Darius  Cobb,  Boston  Evening  TmveUer, 
May  9,  1S78. 

Pott,  L.  J.  (Brit.)  Born  in  Nottingbamsbire,  1837.  Displayed 
jibenomeiial  talents  as  an  artist  at  an  early  age,  and  drew  cleverly 
when  not  more  than  five  years  old.  He  was  articled  to  an  .architect 
when  si.xteen,  but  soon  left  that  branch  of  art  for  the  study  of  paint- 
ing in  London.  He  first  exhibited  at  the  Royal  Academy,  in  1860, 
“Studying  from  N.ature  ” and  “EfBe  Deans”  ; in  1861,  “Dark  and 
Fair”  ; in  1863,  “Puss  in  Boots”  ; in  1864,  “Rebecca  describes  the 


ARTISTS  OF  TEE  NINETEENTH  CENTURY.  189 


Fight  to  Ivanhoe  ” ; in  1865,  “ Old  Memories  ” ; in  1867,  “ The  De- 
fence”; in  1868,  “The  First  Success”;  in  1869,  “Fire  at  a Thea- 
ter”; in  1871,  “Mary  Queen  of  Scots  led  to  Execution”;  in  1872, 
“Charles  I.  leaving  Westminster  Hall  after  his  Trial”;-  in  1873, 
“ On  the  March  from  Moscow”  ; in  1874,  “ Paris  in  1793  ” ; in  1875, 
“ Don  Quixote  at  the  Ball”  ; in  1876,  “ His  Highness  in  Disgrace”  ; 
in  1877,  “Waiting  for  the  King’s  Favorite”;  in  1878,  “Fallen  among 
Thieves.” 

“ When  this  picture  [‘  Mary  Queen  of  Scots  led  to  Execution  ’]  was  exhibited  at  the 
Roj'al  Academy  in  1871,  very  many,  if  not  all  of  those  who  had  made  close  acquaintance 
with  the  artist’s  previous  works,  were  satisfied  that  in  it  he  had  accomplished  a sur- 
prising advance.  Pott’s  ‘ Defence,’  and  his  ‘ Fire  at  a Theater,’  showed  him  to  be  on 
the  right  road,  but  it  was  this  work  which  at  once  gave  him  something  more  than  an 
ordinary  reputation  as  a painter  of  historical  subjects.” — Art  Journal.  May,  1875. 

Powell,  William  H.,  A.  N.  A.  (Am.)  Native  of  the  State  of 
Ohio.  He  is  an  Associate  Member  of  the  National  Academy,  and 
has  for  some  time  had  a studio  in  the  city  of  New  York.  He  devotes 
himself  to  portrait  and  historical  painting.  He  is  the  artist  of  “ The 
Discovery  of  the  Mississippi  by  De  Soto  ” (in  the  rotunda  of  the  Capi- 
tol at  Washington)  and  of  “The  Battle  of  Lake  Erie,”  painted  for 
the  State  of  Ohio.  His  “ Landing  of  the  Pilgrims  ” belongs  to 
Marshall  0.  Eoberts.  His  portraits  of  General  McClellan  and  of 
Major  Anderson  are  in  the  City  Hall,  New  York.  He  has  had 
among  his  sitters  Washington  Irving  and  many  private  individuals. 

Powers,  Hiram.  (Am.)  Born  in  Vermont  (1805  - 1873).  When 
a boy  Powers  was  taken  with  his  faniil}’  to  Cincinnati,  Ohio,  where 
he  learned  the  art  of  modeling,  and  acq^uired  some  local  reputation 
for  his  busts  and  medallions  of  such  men  as  Calhoun,  Webster,  Jack- 
son,  and  Clay.  After  a short  residence  in  Washington,  D.  C.,  he  went 
to  Italy  in  1837,  settling  in  Florence,  where  the  rest  of  his  life  was 
spent.  In  1839  or  ’40  he  completed  his  “Eve,”  and  the  “Fisher- 
Boy  ” a little  later.  “ The  Greek  Slave  ” (the  work  upon  which 
much  of  his  fame  now  rests)  was  finished  in  1843.  Of  this  figure 
some  six  or  eight  copies  came  from  Powers’  studio  : the  first,  sold  to 
Captain  Grant  for  $ 4,000,  was  taken  to  England,  and  is  now  in  the 
gallery  of  the  Duke  of  Cleveland  ; the  second,  brought  to  America 
in  1847,  attracted  great  attention  when  exhibited  in  New  York,  and 
is  now  at  the  Corcoran  Gallery  in  Washington  ; the  third  copy  be- 
longs to  Earl  Dudley  ; the  fourth,  purchased  by  Prince  Demidoff  for 
$4,000,  was  sold  at  that  nobleman’s  death  for  $ 11,000  to  A.  T.  Stew- 
art of  New  York  ; the  fifth  copy  is  in  the  possession  of  Hon.  E.  W. 
Stoughton.  Other  works  of  Powers  have  been  extensively  repeated. 
Among  his  ideal  subjects  are  his  “ Penseroso  ” (in  the  Lenox  Library, 
New  York  ; never  copied),  “ America  ” (destroyed  by  fire  in  Brook- 
lyn), “ Eve  Disconsolate  ” (belonging  to  E.  D.  Morgan),  “ Faith,” 
“ Hope,”  “ Charity,”  “ Clytie,”  “ Proserpine,”  “ California,”  “ Christ,” 
and  “ Paradise  Lost.”  His  statues  of  Washington,  Webster,  Franklin, 


190  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Jefferson,  Calhoun,  and  others  are  in  different  American  cities.  The 
original  Webster,  lost  at  sea,  cost  $ 12,000,  the  duplicate  $ 7,000. 
Among  the  distinguished  persons  who  have  sat  to  Powers  for  their 
portrait  busts,  were  John  Q.  Adams,  Calhoun,  Jackson,  Van  Buren, 
Marshall,  Abbott  Lawrence,  Slidell,  Grand  Duchess  of  Tuscany, 
Nicholas  Longworth,  Winthrop,  Sparks,  George  Peabody,  Vanderbilt, 
Everett,  and  Dr.  Bellows.  The  Calhoun  statue  in  Charleston,  S.  C., 
was  taken  to  Columbia,  and  destroyed  in  that  city  by  tire  during  the 
Civil  War. 

Of  an  exquisitely  casved  hand,  that  of  an  infant  daughter  of  the 
sculptor,  Hawthorne  makes  Miriam  speak  very  pleasantly  in  the 
“ Marble  Faun.”  Although  small  and  simple,  it  is  one  of  the  most 
artistic  and  touching  of  Powers’  creations.  It  has  been  occasionally 
reproduced.  One  tine  copy  is  in  the  possession  of  Mr.  John  Erskine 
of  Boston. 

“ Hiram  Powers  fitly  represents  the  mechanical  proclivities  of  the  nation.  His  female 
statues  are  simply  tolerably  well-modeled  fisures,  borrowed  in  conception  from  the 
second-rate  antiques,  and  somewhat  arbitrarily  named.  . . . ‘ California,’  ‘ Eve,’ 
‘ America,’  ‘ The  Greek  Slave,’  are  the  same  woman,  and  each  might  be  called  some- 
thing else  with  equal  felicity  of  baptism.  The  ‘ California’  is  essentially  vulgar  in  pose 
and  commonplace  in  allegory.”  — Jarves,  Art  Idea. 

“ Powers  is  an  eclectic  in  the  study  of  natui'e,  and  has  triumphed  over  academic  dog- 
mas and  dictation.  Thorwaldsen  visited  his  studio,  and  pronounced  his  bust  of 

Webster  the  best  work  of  the  kind  executed  in  modern  times The  genius  of 

Powers  is  singularly  healthful  There  is  something  in  the  cai-eer  of  this  remarkable 
artist  which  strikes  ns  as  eminently  American.”  — TucivER.man’s  Book  of  the  Artists. 

“ Hiram  Powers  cannot  be  ranked  among  the  great  sculptors  of  our  time.  His  ‘ Eve  ’ 
is  undoubtedly  his  ma.sterpiece  among  ideal  figures,  although  his  ‘ Greek  Slave  ’ has  at- 
tained larger  popularity,  simply  from  being  more  widely  known.  Tlie  dignity  of  some  of 
his  allegorical  statues,  such  as  ‘ California,’  and  of  some  of  the  portrait  statues,  as  that 
of  Washington,  is  greatly  impaired  by  the  too  lavish  introduction  of  accessories  or  by 
peculiarities  of  costume.  The  statue  of  Franklin,  on  the  other  hand,  is  simple  and 
thoughtful  Of  his  busts,  particularly  those  of  females,  nothing  can  be  said  but  what 

is  eoinmendatory If  he  made  no  real  advance  after  the  production  of  ' Eve  ’ and 

‘The  Greek  Slave,’  he  maintained  to  the  last  the  reputation  acquired  by  these.”  — Art 
Journal,  July,  1873. 

“Appeal,  fair  stone. 

From  God’s  pure  height  of  beauty  against  man's  wrong : 

Catch  up  in  thy  divine  face  not  alone 
East’s  griefs,  but  West’s,  and  strike  and  shame  the  strong. 

By  thunder  of  white  silence  overthrown.” 

Mrs.  Browning's  Apostrophe  to  the  Greek  Slave. 

Powers,  Preston.  (Am.)  Born  in  Florence,  1843.  Second  son 
of  Hiram  Powers,  whose  only  pupil  he  was,  receiving  his  constant  in- 
struction for  six  years.  His  professional  life  has  been  spent  in  the 
United  States  and  in  Florence,  where  his  studio,  that  occupied  by  his 
father,  now  is.  Among  the  better  known  of  the  works  of  Preston 
Powers  are  the  statue  of  Senator  Jacob  Collamer  of  Vermont  (origi- 
nally ordered  of  Hiram  Powers),  to  be  placed  in  the  Old  Hall  of 
Representatives  in  Washington,  D.  C.;  a bust  of  Charles  Sumner, 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  191 


from  photographs  and  casts  taken  by  Mr.  Powers  after  the  statesman’s 
death,  and  now  owned  in  Washington  ; a bust  of  Agassiz,  from  a 
death-mask,  exhibited  in  Boston,  the  original  being  in  the  Cambridge 
Museum.  His  bust  of  J.  G.  Whittier,  from  life,  is  in  the  Public 
Library  at  Haverhill,  and  a replica  is  to  be  placed  in  the  Public 
Library  of  Boston.  His  bust  of  Swedenborg  belongs  to  the  New 
Church  Society  of  Boston  ; his  bust  of  Senator  Morrill  of  Vermont 
belongs  to  the  family  of  that  gentleman  ; and  his  bust  of  General 
Grant  is  for  the  War  Department  in  Washington.  An  ideal  figure, 
“ Maud  Muller,”  still  unfinished,  is  in  his  studio  in  Florence. 

“ Mr.  Powers’  style  of  work  reproduces  that  of  his  father,  and  is  remarkable  for  deli- 
cacy and  finish  ; wliile  liis  devotion  to  his  profession  promises  an  equal  amount  of  work 

in  the  future The  figure  of  Senator  Collamer  is  distinguished  hy  a quiet  dignity 

and  ease  which  is  apparent  to  tlie  casual  observer,  but  only  those  who  know  something 
of  the  work  can  appreciate  the  difficulties  that  have  been  overcome  in  dealing  with  our 
modern  costume.”  — Boston,  Transcript. 

“ Mr.  Powers  is  also  engaged  on  an  ideal  figure  and  on  several  portrait  busts,  and 
has  already  crowded  his  studio  with  the  numerous  woi'ks  he  has  executed  in  the  ten 
years  of  his  artistic  life.  His  love  for  his  profession  is  extreme,  and  is  proved  hy  his 
careful  and  delicate  modeling  of  details.  Nothing  escapes  ids  eye  ; every  line  is  turned 
to  account  if  useful,  and  the  result  is  the  same  vivid  and  life-like  look  which  is  so  no- 
ticeable in  his  father’s  work His  views  on  the  subject  of  art  are  essentially  the 

same  as  his  father’s,  hut  his  mind  works  in  its  own  way  to  turn  tliein  to  the  best  possi- 
ble account.”  — Boston  Advertiser,  October  8,  1877. 

Powers,  Longworth.  Son  of  Hiram  Powers.  Resides  in  Flor- 
ence. 

[No  response  to  circular.] 

Poynter,  Edward  J.,  R.  A.  (Brit.)  Born  in  Paris,  1836.  Son 
of  Ambrose  Poynter,  an  architect,  and  grandson  of  Thomas  Banks, 
R.  A.,  an  eminent  sculptor  of  the  last  century.  Poynter  was  taken 
to  England  in  his  iniaucy,  commencing  the  study  of  art  in  1854, 
Went  to  Paris  in  1856,  studied  under  Gleyre,  and  was  also  a student 
of  riiicole  des  Beaux-Arts.  He  settled  in  London  in  1860.  In  1859 
he  exhibited  in  the  British  Institution,  “ Two  Italian  Piiferari  ” ; in 
1861,  at  the  Royal  Academy,  “ Alla  Veneziana  ” ; in  1864,  “ The 
Siren”  ; in  1865,  “Faithful  unto  Death”;  in  1866,  “Offerings  to 
Isis  ” ; in  1869  (when  he  was  elected  an  Associate  of  the  Royal  Acad- 
emy) he  sent  “Proserpine”;  in  1870,  “Andromeda”;  in  1871,  “The 
Suppliant  to  Venus”;  in  1872,  “Perseus  and  Andromeda”;  in 
1874,  “Rhodope”;  in  1876,  “Cecil  Wedgwood”  and  “ Atalanta’s 
Race  ” ; in  1877,  “ The  Fortune-Teller  ” (deposited  on  his  election 
as  an  Academician)  ; in  1878,  “ Zenobia  Captive  ” and  a portrait  of 
Mrs.  Langtry.  Poynter  was  the  first  “ Slade  ” Professor  of  Art  at  the 
University  College,  London,  and  for  some  time  a Director  of  the  Art 
Schools  at  South  Kensington  Museum.  His  “Ibis  Girl,”  “The 
Golden  Age,”  and  “ The  Festival  ” were  at  Philadelphia  in  1876. 
“ Israel  in  Egypt,”  “ Proserpine,”  and  “ The  Catapult  ” were  at  Paris 
in  1878.  He  is  also  a contributor  to  the  Grosvenor  exhibitions. 


192  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


“ Among  the  younger  painters  of  England  whose  work  departs  from  traditions  exclu- 
sively English,  and  is  such  as  to  take  its  place  in  the  general  stock  of  trained  European 

art,  Mr,  Poynter  is  one  of  the  most  noteworthy Were  one  to  try  to  analyze  the 

characteristics  of  this  central  example  of  Mr.  Poynter’s  talent  Israel  in  Egv’pt’],  one 
would  have  to  speak  first  of  a clear  and  determined  practical  sense,  showing  itself  in 
the  carefully  rational  and  probable  arrangement  of  the  general  scene,  and  the  efiective 
realization  and  solution  of  every  problem,  whether  of  archseology  or  mechanics,  which 
it  suggests.  ” — Sidney  Colvin,  in  English  Painters  of  the  Present  Day,  1S71. 

“ The  figure,  although  somewhat  statuesque,  is  striking  and  graceful,  and  the  birds  are 
most  picturesquely  grouped,  hut  the  composition  as  a whole  [‘  Feeding  the  Sacred  Ibis 
in  the  Halls  of  Karnac  ’]  loses  much  of  its  harmony  in  the  engraving  by  the  obtrusive- 
ness of  the  background  of  Egyptian  architecture  with  its  redundancy  of  varied  and  promi- 
nent ornamentation.”  — Art  Journal,  January,  1874. 

“I  wonder  how  long  Mr.  Poynter  thinks  a young  lady  could  stand  barefoot  on  a 
round-runged  ladder  [‘  The  Festival’],  or  that  a sensible  Greek  girl  would  take  her  sandal.s 
off  to  try,  on  an  occasion  when  she  had  festive  arrangements  to  make  with  care.  The 
ladders  themselves,  here  and  in  No.  236  [‘  The  Golden  Age  ’],  appear  to  me  not  so  classi- 
cal or  so  rude  in  type  as  might  have  been  expected,  but  to  savor  somewhat  of  expedi- 
tious gas-lighting Both  these  pictures  are  merely  studies  of  decorative  composition, 

and  have  far  too  much  pains  taken  with  them  for  that  purpose.  ” — Buskin’s  A’ofes  of  the 
Academy,  1875. 

Pozzi,  Francesco.  (Hal.)  Born  at  Portoferraio  (1790-1844). 
The  colossal  statue  of  Ferdinand  III.  at  Leghorn,  and  the  Farinata 
degli  Uberti  of  the  loggia  of  the  Uffizi  at  Florence  are  fine  works  by 
Pozzi.  His  “ Dancing-Girl,”  “ Bacchante,”  “ Mercury,”  and  “ Cipa- 
risso  ” have  been  frequently  repeated. 

Pradilla,  F.  (Span.)  Of  Madrid.  At  the  Paris  Exposition  of 
1878  this  painter  was  awarded  the  medal  of  honor  for  his  picture  of 
“ Dona  Juana  La  Loca.”  She  was  the  daughter  of  Feixlinand  and 
Isabella  and  the  mother  of  Charles  V.  She  is  represented  upon  one 
of  the  occasions  tvhen  the  funeral  cortege  of  her  husband  halts  for  the 
night.  It  will  be  remembered  that  she  followed  this  sad  procession  to 
the  place  of  burial.  The  atmosphere  in  this  picture  speaks  of  chill 
and  desolation,  and  the  whole  effect  is  that  of  strength  and  sincerity 
on  the  part  of  the  artist. 

Pratere,  Edmond  de.  (Belgian.)  Born  at  Courtrai.  Medal  at 
Philadelphia,  where  he  exhibited  “ Animals,  — a Halt.”  At  Paris,  in 
1877,  were  “ Dog-Keepers  at  the  Rendezvous  of  the  Hunt  ” and  “Dogs 
at  Bay.” 

Prdault,  Antoine- Augustin.  (Fr.)  Bora  at  Paris,  1809.  Pupil 
of  David  d’ Angers.  Made  his  debut  at  the  Salon  of  183.3,  but  was 
excluded  from  the  Salons  during  fifteen  years.  At  length,  in  1849, 
his  works  were  admitted  for  exhibition,  and  he  gained  reputation 
rapidly.  His  works  are  seen  in  churches  and  other  public  places. 
In  1877  he  exhibited  a “Funeral  Bas-Relief,”  belonging  to  Carolus 
Duran;  in  1876,  a portrait,  medallion,  plaster,  and  “ Ophelia,”  bas- 
relief  in  bronze,  bought  by  the  Ministry  of  the  Beaux- Arts  ; in  1875, 
“ Jacques-Cceur,”  statue,  marble,  bought  by  the  Ministry  of  the  Beaux- 
Arts,  and  two  medallion  portraits  in  bronze ; in  1874,  funeral  me- 
dallions in  bronze  ; etc. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  193 


Preller,  Friedrich  Johann  Christian  Ernst.  {Ger.)  Born  at 
Eisenach,  1804.  Professor  of  Drawing  in  the  School  of  Fine  Arts  at 
Weimar.  Court  painter.  Studied  under  various  masters  at  Weimar 
and  Dresden,  and  at  the  Academy  of  Antwerp.  Goethe -was  the 
friend  of  Preller,  and  through  his  influence  the  Grand  Duke  Karl 
August  became  interested  in  the  young  artist,  and  took  him  on  a 
journey.  Preller  was  very  ill,  and  the  Grand  Duke  cared  for  him 
most  tenderly.  In  1825  the  artist  went  to  Milan,  where  he  studied  in 
the  Academy.  He  went  to  Koine  in  1828;  there  Joseph  Anton  Koch 
influenced  his  studies,  and  directed  his  attention  to  the  study  of 
drawing,  as  he  was  inclined  to  regard  only  the  grand  effects  of  nature, 
to  the  injury  of  the  whole  effect  of  his  composition.  In  1831  he 
went  to  Weimar,  and  was  employed  from  1835  to  ’37  in  decorating 
the  Wieland  Hall  in  the  museum  of  that  city.  In  the  Castle  of 
Weimar  he  executed  six  historical  Thuringian  landscapes.  In  1840 
he  visited  Norwaj^,  and  afterwards  painted  Northern  landscapes  and 
marine  views.  He  had  already  painted  in  Leipsic  his  .series  of  Odys- 
sey pictures  which  seemed  to  be  his  one  entrancing  thought  ; he 
repeated  them  three  times.  The  Grand  Duke  gave  him  a commission 
to  rejiaint  them,  and  he  went  to  Italy  for  the  purpose  of  making 
studies  for  them.  This  occupiied  two  years,  and  the  sixteen  cartoons 
are  in  the  Museum  at  Leipsic.  Two  of  his  works,  “ Calypso  ” and 
“ Leucothea,”  are  at  Munich.  At  the  National  Gallery  of  Berlin  are 
his  “ Styrian  Landscape  ” and  a “Norwegian  Coast  Scene.”  About 
1830,  at  Weimar,  he  became  interested  in  etching,  and  for  a long 
time  was  very  active  in  an  etching-club  which  he  had  established. 
His  own  works  of  this  sort  are  much  prized  by  collectors. 

“ In  Preller’s  representations  we  find  energy  and  conscientiousness  which  surpass, 
not  only  in  execution,  but  in  the  whole  spirit,  the  works  ordinarily  considered  as  up  to 
the  required  level.  The  peculiarity  of  historical  representation  — that  peculiarity  of  it 
which  makes  the  figures  appear  as  if  inoided  from  nature  — he  has  forcibiy  presented 
to  us  once  more.  Nothing  in  Nature  is  hidden  from  him,  — her  beauty  is  naked  to  his 
observation.  The  remarkable  knowledge  of  forms  and  their  organic  connection  which 
he  has  gained  by  unceasing  study  and  an  industry  never  satisfied  by  itself,  shows  him 
outlines  through  any  and  every  covering.  In  ins  landscapes  he  renders  justly  both  the 
vegetation  and  the  outlines  or  undulations  whicli  it  conceals,  and  takes  from  the  spirit 
of  neither  by  over  attention  to  details.  He  has  not  thus  mastered  Nature  by  prying 
and  digging  ; she  has  been  revealed  to  him  spiritually,  and  has  become  his  through  a 
devotion  of  thought  and  an  inexorable  earnestness  of  contemplation.  This,  far  from 
making  him  a slave  to  trivial  things,  makes  him  a ruler  with  a sort  of  loving  authority.” 
Dr.  Max  Jordan,  Zeiischrift  fiir  hildende  Kunst,  1866. 

Preyer,  Johann  Wilhelm.  (Ger.)  Born  at  Rbeydt,  1803. 
Studied  in  Diisseldorf  Academy.  Passed  some  years  at  Alunich  and 
settled  at  Diisseldorf.  Traveled  extensively  in  Europe.  His  pic- 
tures are  of  flowers  and  fruit.  Several  are  in  the  Berlin  National 
Gallery.  At  the  Johnston  sale  in  New  York  in  1876,  “Fruit”  (21  by 
20),  from  the  old  Diisseldorf  Gallery  in  New  York,  sold  for  $ 1,400. 

VOL.  II.  9 M 


194  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


At  the  Leipsic  Museum  is  one  of  his  fruit-pieces.  Mr.  T.  E.  Butler 
of  New  York  has  his  “ Fruit  and  Wine.” 

Princeteau,  Rend  (FV.)  Bom  at  Liboume.  Pupil  of  I’Ecole 
des  Beaux-Arts.  Medal  at  Philadelphia,  where  he  exhibited  a por- 
trait of  Washington  and  “Horses  frightened  by  a Railway-Train.” 
At  Paris,  in  the  Salon  of  1875,  he  exhibited  the  preceding  picture  and 
“ Halte  ! ” and  a group  in  plaster,  “The  Punisliment  of  Brunehaut”; 
in  1872,  “A  Patrol  of  Uhlans  surprised  by  French  Sharp-Shooters  ” ; 
in  1878,  a picture  of  “The  Return  from  the  Promenade”  and  an 
equestrian  portrait  of  Count  T.  L. 

Prinsep,  Valentine  C.  (Brit.)  Born  in  India,  1836.  He  was 
originally  intended  for  the  Indian  Civil  Service,  but,  resolved  to  devote 
himself  to  art,  he  went  to  England  to  study,  exhibiting  at  the  Royal 
Academy  in  1862,  “How  Bianca  Cap  el  lo  sought  to  poison  the  Car- 
dinal de’  Medici”  ; in  1864,  “My  Lady  Betty”  ; in  1865,  “Belinda” 
(from  Pope’s  “Rape  of  the  Lock”)  ; in  1867,  “Miriam  watching  the 
Infant  Moses”  ; in  1868,  “A  Venetian  Lover”  ; in  1869,  “Bacchus 
and  Ariadne”  ; in  1870,  “The  Death  of  Cleopatra”;  in  1871,  “News 
from  Abroad  ” ; in  1872,  “The  Harvest  of  Spring”  ; in  1873,  “ Lady 
Teazle  ”;  in  1874,  “ Newmarket  Heath,  — the  Morning  of  the  Race 
in  1875,  “A  Minuet”;  in  1876,  “The  Linen-Gatherers”;  in  1878, 
“A  Kashmiree  Nautch-Girl”  ; and  many  more,  besides  an  occasional 
portrait.  His  “ Minuet  ” and  “ Death  of  Cleopatra  ” w^ere  at  the  Cen- 
tennial Exhibition  at  Philadelphia  in  1876  ; “Reading  Grandison,” 
“ Linen-Gatherers,”  and  “A  Bientot,”  at  Paris,  in  1878. 

“ Mr.  Princep,  if  he  does  not  this  year  trj'  any  subject  of  powerful  interest,  has 
gained  in  mastery  over  his  art.  His  ‘Berenice,’  although  not  exactly  the  lady  of 
whom  Hr.  Browning  speaks  in  the  verse  quoted,  is  a grand  piece  of  decorative  coloring, 
althougli  ratlier  coarse  in  design.  This  same  artist’s  ‘ Lady  of  the  Last  Century,’  in  her 
full  court  dress  and  fan,  sweeping  gracefully  by,  shows  command  over  motion,  color, 
and  life. ” — Palorave’s  F.ssays  on  Art. 

“ ‘ A Bientot  ’ [R,  A. , 1876]  is  by  V.al.  C.  Princep.  He  is  always  exceptionally  strong 
in  these  charming  little  pieces  of  drawing-room  incident,  and  this  picture  is  an  admira- 
ble illustration  of  the  care  and  skill  with  which  he  handles  such  subjects."  — Art  Jour- 
nal, July,  1876. 

Priou,  Louis.  (Fr.)  Born  at  Toulouse.  Medals  in  Paris  in  1869 
and  ’74,  and  at  Philadelphia,  1876.  Pupil  of  I’Ecole  Municipale  of 
Bordeaux,  and  of  Cabanel.  At  Philadelphia  he  exhibited  the  “Edu- 
cation of  Young  Satyrs,”  and  at  Paris,  in  1877,  the  same  picture 
and  a “Venetian  Duo”  ; in  1876,  “Nymph  of  the  Wood”  and  “A 
Souvenir”  ; and  in  1874,  “A  Family  of  Satyrs,”  now  at  the  Cor- 
coran Gallery  in  Washington.  The  catalogue  says  : — 

“ The  prodigious  vigor  of  the  composition  and  its  fine  color  are  equal  to  the  artist’s 
thorough  classical  conception  of  the  subject  The  whole  scene  is  reidete  with  the  spirit 
of  the  wild,  joyous  sylvan  life,  associated  with  those  imaginary  wood  deities  of  the 
ancients.” 

To  the  Salon  of  1878  he  contributed  “ The  First  Miseries  of  a Yoimg 
Satyr  ” and  a portrait. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  195 


Probst,  Karl.  {Austrian.)  Of  Vienna.  Medal  at  Philadelfiliia, 
where  he  exhibited  a “Portrait  Study,  — Female  Figure,”  of  which 
Weir  says  : — 

“ A portrait  study  by  Charles  Probst  has  exceptional  merit.  The  expression^ and  atti- 
tude are  very  natural,  and  the  technical  treatment  skillful.  It  was  one  of  the  best  por- 
traits of  the  Exhibition.’* 

Protais,  Paul  Alexandre.  (FV.)  Born  at  Paris,  1826.  Cheva- 
lier of  the  Legion  of  Honor.  Pupil  of  Desmoulins.  He  followed  the 
French  armies  in  the  Crimea  and  in  Italy,  and  devoted  himself  almost 
entirely  to  military  subjects.  He  received  his  first  medal  in  1863, 
and  his  decoration  in  1865.  Among  his  works  the  following  are  the 
most  important : “ Battle  of  Inkermann,”  “ Death  of  Colonel  Brancion,” 
“ Taking  of  a Battery  of  the  Mamelukes  ” (1857),  “ Attack  and  Tak- 
ing of  the  Mamelukes,”  “The  Last  Thought”  (1859),  “Brigade  of 
General  Cler  on  the  Route  to  Magenta,”  “ Passage  of  the  Sezia,”  “ An 
Evening  March,”  “A  Sentinel”  (1861),  “The  Morning  before  the 
Attack  ” and  “ The  Evening  after  the  Combat  ” (1863),  — the  last  two 
are  his  most  admired  works,  and  were  in  the  Exposition  of  1867, — 
“ The  End  of  the  Halt,”  “ Passage  of  the  Mincio,”  “ An  Interment  in 
the  Crimea,”  “The  Conquerors,  — Return  to  the  Camp  ” (1865), — the 
last  was  also  in  the  Exposition  of  1867,  and  was  purchased  by  Count 
W.  de  la  Valette,  — “A  Wounded  Soldier,”  “A  Bivouac”  (1866), 
“ The  Grand  Halt,”  purchased  by  the  Princess  Mathilde  (1868),  “ En 
Marche  ! ” and  “ The  Night  of  Solferino  ” (1870),  “ The  Separation,” 
“Army  of  Metz,”  October  29,  1870,  and  “ Prisoners,”  near  Metz,  No- 
vember 1,  1870  (1872),  “The  Repose”  (1873),  “An  Alert,”  “Metz,” 
(1874),  “ French  Guards  ” and  “ Swiss  Guards  ” (1875),  “ La  garde 
dir  drapeau  ” (1876),  “ Passage  of  a River  ” (1877). 

“ Protais  lias  discovered  new  material  in  warfare,  leaving  to  others  the  purely  military 
spirit,  and  studying  soldiers,  for  the  first  time  in  the  history  of  art,  simply  as  human 

beings,  placed  in  circumstances  of  great  interest The  picture  called  ‘ Morning 

before  the  Attack  ’ represents  a small  body  of  Chasseurs  de  Vincennes,  marching  warily 
towards  the  enemy,  on  hilly  ground,  in  the  cold  light  of  early  morning.  Tiiere  is  no 
glare  of  color  ; but  the  dark  uniforms  harmonize  pleasantly  with  the  gray  sky  and  dewy 
green  mountain  ground.  The  execution  is  modest  and  simple,  a little  too  metliodical 
perhaps,  but  without  dash  or  bravura  ; and  the  spectator  is  made  to  understand  that  the 
artist  would  rather  he  felt  the  .awfulness  of  the  moment  than  wandered  from  the  matter 
to  admire  pretty  tricks  of  execution  or  clever  bits  of  detail.”  — Hamekton,  Contem- 
porary French  Painters. 

“ He  paints  soldiers  as  a comrade  ; we  see  that  he  knows  them,  understands  them, 
and  loves  them.  He  knows  war  to  the  bottom  in  all  familiar  aspects,  heroic  and  mel- 
anchoiy.  He  will  tell  you  how  the  men  lie  down  and  shield  themselves  during  a hait, 
and  how  tiiey  replace  themselves  cn  roide.  If  you  repro.ach  him  with  h.aving  exhibited 
in  1SG4  the  same  troopers  as  in  1S63  and  '62,  he  will  rejily  to  you,  not  without  reason, 
tlnat  the  troopers  change  iittle,  th.at  they  resemble  each  other  more  or  less  ; that  the 
army,  like  the  convent  and  the  jirison,  and  .all  institutions  outside  of  mature,  is  a mold, 
a gaulfer-iron,  in  which  man  models  and  forms  himself  anew  on  a uniform  type.  From 
this  comes  that  uniformity  which  penetrates,  whatever  bapjiens,  through  the  most 
varied  episodes.  ” — Edmond  About,  Salon  de  1SG4, 

It  was  said  that  the  Emperor  paid  £ 5,000  for  two  pictures,  “ The 
Morning  and  Evening  of  the  Soldier,”  at  the  Salon  of  1863. 


196  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Prout,  Samuel.  {Brit.)  Born,  at  Plymouth  (1785  - 1852).  He 
evinced  a decided  talent  for  water-color  painting  as  a youth,  and,  going 
to  London  early  in  the  century,  he  found  a ready  sale  for  his  works. 
About  1820  he  visited  the  Continent,  making  many  sketches  of  the 
scenery  of  the  Rhine,  the  Alps,  etc.,  which  were  subsequently  en- 
graved. He  was  made  a member  of  the  Society  of  Painters  in  'Water- 
Colors  very  early  in  his  career,  and  contributed  regularly  to  its 
exhibitions  for  many  years.  He  turned  his  attention  particularly 
to  architectural  drawings,  and  his  works  were  very  popular,  and  by 
collectors  are  still  highly  prized.  Among  the  better  known  of  his 
pictures  are,  “ Chartres  Cathedral,”  “ City  of  '\^enice,”  and  the  draw- 
ings illustrating  “Views  in  the  North  and  West  of  England,”  “ The 
Continental  Annual,”  “ The  Landscape  Annual,”  and  other  volumes 
of  a similar  character. 

“ We  owe  to  Samuel  Prout,  I believe,  the  first  perceirtion,  and  certainly  the  only  ex- 
pression, of  precisely  the  characters  whicli  were  wanting  to  old  art,  of  that  feeling  wliieh 
results  from  the  influence  among  the  noble  lines  of  architecture,  of  the  rent  and  the  rust, 
the  Assures,  the  lichen,  and  the  weed,  and  from  the  writings  upon  the  pages  of  ancient 

walls  of  the  confused  hieroglyphics  of  human  history For  numerous  as  have  been 

his  imitators,  extended  as  his  influence,  and  simple  as  his  means  and  manner,  there  has 
as  yet  appeared  nothing  at  all  to  equal  Iiim.  There  is  no  stone  drawing,  no  vitality  of 
arcliitecture,  like  Prout's."  — Ruskin’s  Modem  Painters. 

Pugin,  Edward  W.  {Brit.)  Born  in  1834.  Pupil  of  his  father, 
a well-known  English  architect,  whom  in  1852  he  succeeded.  He  has 
designed  and  completed  many  important  buildings,  principally  church 
edifices,  in  all  parts  of  Great  Britain  and  Ireland. 

Puvis  de  Chavannes,  Pierre.  (TV.)  Born  at  Lyons.  Died,  1871. 
Chevalier  of  the  Legion  of  Honor.  Pupil  of  Henri  Scheffer  and  Cou- 
ture. He  has  devoted  himself  to  mural  and  decorative  painting.  His 
“ Peace  ” and  “ War”  were  immense  symbolical-  works  ; small  repro- 
ductions of  them  were  seen  at  the  great  Exposition  of  1867,  and  they 
were  much  noticed  and  discussed.  In  1865  he  executed  for  the  Wu- 
seum  at  Amiens  “ Ave  Picardia  nutrix,”  a monumental  work  with 
eight  figures,  for  Le  Cercle  de  I'Union  Artistique.  He  painted  a deco- 
rative figure  called  “ Sport  ” for  the  grand  staircase  of  the  Museum  of 
Marseilles,  “ Massilia,  a Greek  Colony,”  and  “ Marseilles,  — the  Gate  of 
the  Orient  ” (1869).  At  the  Salon  of  1870  he  exhibited  “ The  Beheading 
of  St.  John  the  Baptist”  and  “ Mary  Magdalene  in  the  Desert  ” ; in 
1872,  “Hope”;  in  1873,  “Summer”;  in  1874,  “The  Year  732, — 
Ghailes  Martel  saved  Christianity  by  his  Victory  over  the  Saracens 
near  Poitiers,”  and  a design  for  “ The  Sixth  Century,  — Eadegonde, 
retired  to  the  Convent  of  Sainte-Croix,  gives  an  Asylum  to  Poets,  and 
protects  Letters  from  the  Barbarity  of  the  Age,”  — both  of  these  sub- 
jects were  for  the  decoration  of  the  Hotel  de  Ville  at  Poitiers  ; in 
1876,  one  painting  and  one  sketch  for  his  scenes  in  the  life  of  St, 
Genevieve,  which  he  was  commissioned  to  execute  in  the  Pantheon, 
now  the  church  of  Sainte-Genemeve,  by  the  Ministry  of  Public  In- 
struction and  Beaux-Arts. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  197 


“The  artist  so  long  disputed  is  henceforth  in  full  favor  in  public  opinion  ; he  seems  to 
have  disarmed  criticism,  triumphed  over  the  most  rebellious,  and  rallied  the  most  frivo- 
lous among  the  worldlings  who  felt  themselves  much  affected  by  this  epic  simplicity  and 
this  profound  sincerity.  He  has  not  a useless  gesture,  not  a line  which  has  not  its 
value  ; all  the  words  are  ideas,  and  the  poem  is  accessible  to  all.  M.  de  Charannes  had 
his  public  restraint,  he  isolated  himself  in  his  intellectual  aristocracy,  and  people  remem- 
ber that  curious  inauguration  of  frescos  at  the  Museum  of  Amiens  presided  over  by 
Theophile  Gautier,  where  only  a few  of  the  initiated  had  a place.  To-day,  after  having 
so  long  suffered,  he  is  honored,  and  his  hour  is  decidedly  come.”  — Charles  Yriarte, 
Gazette  des  Beawc-Arts,  June,  1S7G. 

“The  truth  is  that,  for  intensely  poetical  sentiment,  few  living  painters  may  be  com- 
pared to  Puvis  de  Chavannes.  His  art  is  a poetical  abstraction  ; the  region  that  he  paints 
is  not  the  world,  but  a painter’s  dreamland,  and  the  figures  th.at  dwell  in  it  are  not 
men  and  women,  but  the  phantoms  of  a powerful  yet  tranquil  imagination.  To  enjoy 
works  of  this  kind  thoroughly,  we  must  surrender  ourselves  to  them,  and  live  an  hour 
in  this  world  of  strange  beings,  — so  strong,  so  stately,  so  magnificent  in  irresistible  ac- 
tion, so  calm  in  their  everlasting  rest.”  — Hamerton’s  Painting  in  France. 

Pye,  John.  (Brit.')  (1782-1874.)  Settled  in  London  in  1800, 
and  was  an  apprentice  of  Heath.  He  engraved  Turner’s  “Pope’s 
Villa,”  one  of  his  earliest  works,  in  1808,  and  later.  Turner’s  “Temple 
of  Jupiter,”  and  the  paintings  of  Claude,  Michael  Angelo,  and  other 
prominent  British  and  Continental  artists,  ancient  and  modern. 

Pyne,  James  B.  (Brit.)  (1800-1870.)  Spent  the  early  part  of  his 
life  in  Bristol,  his  native  city,  painting  and  teaching  drawing.  He 
removed  to  London  in  1835,  exhibiting  for  the  first  time  at  the  Royal 
Academy  the  next  year.  His  works,  however,  have  not  been  seen 
at  the  Royal  Academy  since  1841.  He  was  elected  a member  of  the 
Society  of  British  Artists  in  1839,  and  was  for  some  years  its  Vice-Presi- 
dent. In  1841  he  went  to  Italy,  where  he  painted  many  attractive 
Venetian  landscapes.  In  1848,  for  the  Agnews,  he  painted  a series  of 
twenty-four  pictures  of  English  landscapes,  which  were  subsequently 
lithographed.  In  1851  he  visited  Italy  and  the  Rhine. 

“ Pyue  lias  very  accurate  knowledge  of  limestone-rock,  and  expresses  it  clearly  and 
forcibly  ; but  it  is  much  to  be  regretted  that  this  clever  artist  ajipears  to  be  losing  all 
sense  of  color,  and  is  getting  more  and  more  mannered  in  execution,  evidently  never 
studying  from  nature  except  with  the  previous  determination  to  Pynize  everything,”  — 
Ruskin’s  Modern  Painters. 

“ As  a rule,  Pyne’s  pictures  are  not  popular.  Like  Turner’s,  they  are  not  generally 

intelligible But  he  has  left  works  behind  him  which,  if  the  colors  are  found  to  be 

]iermanent,  will  be  valued  hereafter  as  among  the  best  of  our  modern  school  of  landscape- 
painting. ” — Art  Journal,  Seiitember,  1870. 

Quarnstrom,  Carl  Gustav.  (Swede.)  Born  at  Stockholm  (1810 - 
1867).  Member  and  Director  of  the  Academy  of  Stockholm.  Pupil 
of  the  same  under  Hasselgren.  He  at  length  studied  sculpture  under 
Bystriim.  In  1836,  by  means  of  a stipend  from  the  King,  he  went  to 
Rome.  Since  then  he  has  visited  Paris,  and  been  again  to  Italy. 
Among  his  works  are,  “ Martyrs  in  the  Amphitheater,”  “ Neapolitan 
Fishermen  ” (in  the  Museum  of  Stockholm),  busts  of  Wasa,  Frederika 
Bremer,  and  other  notable  people.  Some  of  his  motives  are  drawn 
from  Northern  mythology,  such  as  “Hoder  von  Loke,”  etc. 


198  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Qucirtley,  Arthur.  {Fr.-Am.)  Born  in  Paris,  France,  1839.  As  an 
artist,  he  is  self-taught,  having  studied  in  no  schools  and  under  no  mas- 
ters. His  professional  life  has  been  spent  in  Baltimore  and  New  York, 
opening  a studio  in  the  latter  city  in  1875  or  ’76.  He  first  exhibited  at 
the  Eoyal  National  Academy,  in  1875,  “ Calm  Days,  Isles  of  Shoals,” 
and  “Evening  at  Narragansett.”  Among  the  more  important  of  his 
works  are,  “ Low  Tide  ” (N.  A.,  1876)  and  “ Making  the  Landing, 
White  Island,  Isles  of  Shoals,”  both  owned  by  John  B.  Thoms  of 
Baltimore  ; “ Morning  Effect,  North  River”  (N.  A.,  1877),  the  prop- 
erty of  John  Taylor  Johnston  ; “ An  Afternoon  in  August,  Coast  of 
Maine  ” (N.  A.,  1878),  belonging  to  Mr.  Colgate.  He  was  elected  a 
member  of  the  Artists’  Fund  Society  in  1876.  His  “ Morning  Effect 
in  New  York  Harbor  ” was  sent  to  the  Paris  Exposition  of  1878. 

“ ‘ The  Close  of  a Stormy  Day  ’ is  the  strongest  thing  Arthur  Quartley  has  yet  done, 
and  it  admits  him  without  demur  into  the  front  rank  of  our  raarine-ii.amters.’'  — Art 
Journal,  May.  1S77. 

“ Among  the  most  progressive  landsoape-painters  in  this  country  is  Arthur  Quartley, 
whose  ‘ Afternoon  in  August ' is,  so  far  .as  we  know,  the  best  marine  he  has  yet 
painted  ....  With  its  exquisitely  soft  and  beautiful  far  distances  and  skies  it  contains 
several  special  bits  of  decoration  that  are  absolutely  tinsel  But  what  especially  interests 
one  in  him  is  the  rapidity  of  his  growth.  Even  now  he  is  almost,  if  not  quite,  at  the 
head  of  American  marine-painters  : and  the  creditable  aiijiearance  which  he  is  making 
is  one  of  the  distinct  and  bright  features  of  the  Academy  Exhibition.”  — .Yew  York 
Evening  Post,  Aprii  20,  1S7S. 

Raabe,  Joseph.  (Ger.)  Born  at  Deutsch  Wartenbei^  (1780- 
1849).  Painter  to  tbe  Court  of  Hesse-Darmstadt.  Professor  at  the 
Academy  of  Bonn.  Member  of  the  Academie  des  Beaux- Arts  at  Dres- 
den. Painter  to  the  Court  of  Sa.xony  and  Profes.sor  at  TEcole  des 
Beaux-Arts  at  Breslau.  He  had  a varied  talent,  a sure  hand,  and 
e.xrpiisite  taste.  He  made  a large  number  of  fine  copie-s  in  Italy. 
His  “ St.  Peter  and  St.  Paul”  is  in  the  principal  church  of  Naum- 
bourg-sur-la-Queiss,  Silesia.  In  the  Dresden  Gallery  there  is  a series 
of  sketches  and  paintings,  illustrating  “ L’antit^ue  histoire  de  la  Ger- 
manie  et  de  I’Allemagne  au  moyen  age.” 

Radclyffe,  Edward.  {Brit.)  (1810-1863.)  Son  of  William 
Radclyffe,  a noted  English  engraver,  whose  pupil  and  assistant  he 
was  for  some  years  in  Birmingham,  his  native  town.  He  went  to 
London  about  1842,  where  he  became  associated  with  the  Art  Journal, 
and  other  illustrated  periodicals,  furnishing  many  fine  plates  after  the 
leading  artists  of  the  day.  “Kenilworth  Castle,”  “ Peat-Gatherem,” 
“Outskirts  of  the  Forest,”  “Changing  the  Pasture,”  and  others,  after 
David  Cox,  were  among  his  later  works. 

Radford,  Edward.  (Brit.)  Born  at  Plymouth,  1831.  -A.t  the 
age  of  fifteen  he  was  articled  as  a pupil  to  a civil  engineer,  practicing 
as  an  architect  in  Canada  and  the  United  States  from  1854  to  ’61. 
He  w.as  some  months  a lieutenant  in  an  Ohio  battery  in  the  Amer- 
ican Civil  War,  and  was  engaged  upon  ordinance  until  1862.  In 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  199, 


1863  he  commenced  painting  as  a profession,  in  Cincinnati,  Ohio, 
returning  to  England  the  same  year,  and  becoming  a subscriber  to  the 
Artists’  Society,  Langham  Chambers.  He  was  elected  an  Associate 
of  the  Society  of  Painters  in  Water-Colors  in  1875,  and  is  also.a  mem- 
ber of  the  Adelphi  Society  of  Arts.  Among  his  more  important 
works  are,  “The  Soldier  of  the  Cross,”  at  the  Royal  Academy  in 
1868  (owned  in  New  York)  ; “ Flora,”  at  the  Dudley  Gallery  in  1873  ; 
and  “ Weary,”  at  the  Water-Color  Exhibition  of  1875  ; “ The  Con- 
valescent ” (belonging  to  Mr.  Baring,  M.  P.) ; “ Footprints  ” and 
“ Caveas  Emptor,”  in  1876  ; “ A Little  Chilly  ” (belonging  to  Col- 
lingwood  Smith)  ; “ The  Introduction  ” and  “ Godiva,”  in  1877  ; “In 
Consultation  ” and  “ The  Critics,”  in  1878. 

“ Edward  Radford’s  ‘ Weary  ’ is  a picture  painted  with  much  Ciire  and  attention  to 
detail,  especially  in  the  imitation  of  the  textile  fabrics  ; the  figure  of  the  woman  is  ex- 
cellently modeled,  and  the  pose  easy  and  natural.”  — Art  Journal.  March,  1877. 

Raffet,  Denis- Auguste-Marie.  (Fr.)  Born  at  Paris  (1804- 
1860).  Chevalier  of  the  Legion  of  Honor.  Pupil  of  Charlet,  I’Ecole 
des  Beaux- Arts,  and  of  Gros.  At  the  time  of  his  studies  it  was  quite 
the  custom  for  artists  to  publish  an  annual  album  of  lithographs. 
Raffet’s  first  album  was  dated  1826,  and  his  success  was  more  than 
usual  for  a young  man.  The  subjects  which  he  drew  from  military 
life  have,  with  good  reason,  remained  celebrated.  Raffet  early  re- 
solved to  be  a painter  of  soldiers  and  the  incidents  of  their  lives.  He 
studied  hard,  and  neglected  no  means  to  fit  himself  for  his  chosen 
specialty.  It  is  said  tliat  at  one  time  he  obtained  the  head  of  a young 
soldier  who  had  died  in  the  hospital,  shut  himself  up  with  his  ghastly 
treasure,  and  made  repeated  pictures  of  it  in  order  to  master  the 
strange  pallor  and  painful  mysteries  of  death.  He  still  wished  to  see 
war  itself,  and  in  1832,  at  the  siege  of  Antwerp,  he  made  many 
sketches.  At  the  Salon  of  1835  the  lithographs  of  these  scenes  were 
exhibited  ; they  gave  promise  of  the  future  success  of  the  artist,  and 
attracted  much  attention  to  him.  Prince  Demidoff  became  his  friend, 
and  took  him  on  a long  journey  in  Russia,  Moldavia,  Wallachia,  the 
Crimea,  Smyrna,  etc.  During  tliis  time  Raffet  had  always  the  pencil 
in  hand,  and  his  lithographs  illustrating  this  journey  are  most  val- 
uable, and  are  a perfect  reflection,  as  in  a mirror,  of  the  scenes  repre- 
sented. Raffet  was  often  asked  to  paint  an  historical  picture  for  the 
Gallery  at  Versailles  ; this  he  intended  to  do,  but  his  lithographs 
were  so  much  sought,  and  his  series  of  plates  (especially  that  of  92, 
for  the  “ Journal  de  I’Expedition  des  Portes-de-Fer,”  for  the  Duke  of 
Orleans)  so  important,  that  the  painting  was  always  deferred.  Raffet 
visited  Belgium,  and  in  1849  he  went  to  Italy  to  study  the  motley 
soldiers.  The  troops  of  Garibaldi,  the  Swiss  Papal  Guards,  the 
Austrian,  the  Piedmontese,  the  French  armies,  and  the  picturesque 
costumes  of  the  Italian  women,  afforded  great  scope  to  the  painter. 
He  sketched  much  in  water-colors,  and  his  picture  of  “ The  Evening 


200  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


of  the  Battle  of  Navara,”  where  all  were  seeking  and  hurjdng  their 
dead,  is  a splendid  example  of  his  art.  After  the  siege  of  Rome 
Raffet  divided  his  time  between  Paris,  where  his  family  were,  and 
Florence,  or  San  Donato,  where  Prince  Deniidotf  always  wished  for 
him.  In  1853  these  two  friends  went  to  Spain,  and  Raffet  had  not 
completed  at  the  time  of  his  death  the  album  of  his  Spanish  sketches, 
which  is  mucli  to  be  regretted,  but  at  the  same  time  he  had  in  train 
his  illustrations  of  the  siege  of  Rome,  and  was  so  suddenly  cut  off 
that  much  was  left  unfinished.  His  works  are  far  too  numerous  to 
be  mentioned,  but  his  sketches  show  the  true  heroism,  the  sad,  tender, 
and  brave  elements,  of  the  soldier’s  life,  and  in  them  one  will  find 
harmonized  historj^  and  poetry. 

Rahl,  Charles.  (Ger.)  Bom  at  Vienna  (1812-1865).  Pu- 
pil of  the  Academy  of  Vienna.  He  had  an  extensive  atelier  in 
Vienna,  and  received  many  pupils.  His  works  are  numerous,  and 
some  of  them  are  important.  They  are  seen  in  the  gaUeries  and 
churches  of  his  native  city.  He  executed  some  frescos  and  monumen- 
tal painting,  and  four  hundred  portraits.  His  picture  of  “ Christians 
surprised  in  the  Catacombs  ” is  in  the  National  Gallery,  Berlin. 

Rajon,  Paul-Adolphe.  {Fr.)  Born  at  Dijon.  Medals  in  1869,  ’70, 
and  ’73.  Pupil  of  Gaucherel  and  Flameng.  The  etchings  of  this  artist 
are  fine.  Hanierton  says  that  he  “ never  issues  s’ovenly  or  careless 
work.”  He  is  a painter  as  well  as  an  etcher,  and  has  consequently  a 
certain  understanding  which  is  of  service  to  him,  but  which  is  want- 
ing in  one  who  is  only  an  engraver.  His  engravings  are  very  numer- 
ous, and  are  principally  (in  late  years  entirely)  etchings. 

Ramsay,  Milne.  (Am.)  A native  of  Philadelphia,  he  has  lived 
for  some  time  in  Paris,  studying  under  Bonnat,  and  contributing  to 
the  first  e.xhibition  of  the  Society  of  American  Artists  in  New  Vork, 
in  1878,  “ The  Bird-Fanciers.”  To  the  Paris  Salon  he  sent,  in  1876, 
“ The  Home  of  a Naturalist  ” ; in  1878,  “ Cromwell  and  his  Daughter 
Elizabeth.”  Several  of  his  genre  pictures  have  been  purchased  and 
photographed  by  Goiqjil  & Co.  Among  them  are  “ A Moral  Lesson  ” 
and  “ Douce  Beatitude,”  which  have  been  highly  praised  for  fineness 
and  finish  of  detail. 

Rankley,  Alfred.  (Brit.)  (1820  - 1873.)  A genre  painter  of  con- 
siderable reputation  in  England.  Among  his  works  are,  “ The  ^ il- 
lage  School,”  “ Old  Schoolfellows,”  “ The  Benediction,”  “The  Fare- 
well Sermon,”  “ After  Work,”  “The  Doctor’s  Coming,”  “The  Hearth 
of  his  Home,”  “ The  Lonely  Hearth,”  “ Eugene  Aram,”  “ Dr.  M atts 
visiting  some  of  his  Little  Friends,”  “ George  Stephenson  at  Darling- 
ton,” “ Milton’s  First  Meeting  with  Mary  Powell.”  He  last  exhibited 
at  the  Royal  Academy,  in  1871,  “ The  Benediction.” 

Riinkley’s  ])ictures  are  carefully  painted.  The  story,  whatever  it  may  be,  is  attrac- 
tively set  out,  and  for  the  most  part  <‘onve3’s  some  good  and  wholesome  moral,  and  witli- 
out  any  forced  or  vapid  sentiment.  They  were  hung  in  the  Ac-ademy  in  various  years : 
all  were  directed  to  awaken  dormant  sympathy  in  favor  of  what  is  kindly  in  feeling  and 
of  good  report.”  — ylrf /oni'7ia7,  FcbruaiT,  1S73. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  201 


Ranvier,  Victor  Joseph.  (Fr.)  Born  at  Lyons.  Medals  in  1865 
and  ’73.  Pupil  of  Janmot  and  J.  Richard.  At  the  Salon  of  1876  he 
exhibited  “The  Morning”;  in  1874,  “The  Deliverance  of  Prome- 
theus”; in  1873,  “ Echo  ” and  “ The  E.xiled  Virtues  ” (water-color). 
His  “ La  chasse  au  filet  ” (1864)  and  “ The  Infancy  of  Bacchus  ” (1865) 
are  in  the  Luxembourg. 

Rapin,  Alexandre.  {Fr.)  Born  at  Noroy-le-Bourg.  Medals  in 
1875  and  ’77.  Pupil  of  Gerome  and  Frangais.  Landscape-painter. 
At  the  Salon  of  1878  he  exhibited  “Le  Valbois  (Doubs)  in  No- 
vember.” 

Raven,  J.  S.  {Brit.)  He  was  the  son  of  the  Rev.  J.  Raven  of 
Preston,  an  amateur  jiainter.  As  an  artist  J.  S.  Raven  was  compara- 
tively self-taught.  He  e.xhibited  at  the  Royal  Academy,  the  Dudley 
Gallery,  and  elsewhere.  He  was  drowned  while  bathing  at  Harlich 
in  1877.  Among  his  pictures  are,  “ Midsummer  Moonlight  ” (R.  A., 
1866),  “ A View  of  the  Tay  near  Duiikeld,”  “ Baiff  and  Lord’s  Seat 
from  the  Slopes  of  Skiddaw,”  “ Summer  Haze,”  and  “ Part  of  the 
Land-Slip,  Chapel  Rock,  Lyme-Regis,”  etc.  After  his  death  a collec- 
tion of  his  works  were  on  exhibition  in  the  Gallery  of  the  Burlington 
Fine  Art  Club,  in  London,  of  which  the  London  Times  said  : — 

“ The  loss  to  art  will  he  felt  with  the  more  regret  now  that  we  have  brought  before  us 
the  whole  work  of  his  life,  and  see  such  fine  poetic  endowments  and  strong  development 
of  long-cherished  aspirations,  with  such  vigorous  and  energetic  application  of  a juost 
observant  study  of  Nature.” 

Read,  Thomas  Buchanan.  (Am.)  Born  in  Chester  County, 
Pa.  (1822-  1872).  In  1839  he  entered  the  studio  of  a Cincinnati 
sculptor,  intending  to  learn  that  branch  of  art.  He  quickly  relin- 
quished it  for  painting,  however,  and  opened  a studio  of  his  own  in 
New  York,  two  years  later.  In  1846  he  settled  in  Philadelphia,  and 
in  1850  he  went  to  Europe,  working  and  studying  in  Florence  and 
Rome.  He  made  the  latter  city  his  home,  with  occasional  visits  to 
America,  upon  one  of  which,  in  1872,  he  died  in  New  York.  Among 
the  better  known  of  his  works  are,  “The  Water-Sprite,”  “ The  Lost 
Pleiad,”  “ The  Star  of  Bethlehem,”  “ Sheridan  and  his  Horse.”  He 
began  his  career  as  a portrait-painter  with  some  success.  His  portrait 
of  George  Peabody  is  in  the  Peabody  Institute,  Baltimore.  Mr. 
Claghorn  of  Philadelphia,  an  early  friend  of  Mr.  Read’s,  purchased  a 
number  of  his  pictures,  painted  at  different  periods,  illustrating  his 
progress  from  time  to  time.  His  was  a very  versatile  genius.  He 
occasionally  turned  his  attention  to  sculpture  in  his  maturity,  and 
executed  a bust  of  General  Sheridan,  which  proved  how  successful  he 
might  have  been  with  his  chisel,  had  he  so  elected  in  his  youth.  By 
his  poems,  perhaps,  he  will  be  best  known  in  the  future.  His  “ Sheri- 
dan’s Ride”  is  one  of  the  most  popular  productions  of  the  minor 
poets  of  America.  His  first  book  of  “ Poems  ” was  published  in  1847  ; 
his  “Laj's  and  Ballads”  in  1848,  “The  New  Pastoral”  in  1855, 


202  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


“ The  Home  by  the  Sea”  in  1856.  A collected  edition  of  his  works 
was  published  in  1860. 

Ream,  Vinnie  (Mrs.  Hoxie).  (Am.)  American  sculptress,  re- 
siding for  some  years  in  Washington,  D.  C.  She  went  to  Italy  in 
1869  or  ’70,  executing  in  Rome  her  statue  of  Lincoln  (for  the  United 
States  government),  now  in  the  Capitol  at  Washington.  Among  her 
works  are  busts  of  Lincoln,  Thaddeus  Stevens,  Re verdy  Johnson,  etc.  ; 
and  medallions  of  Father  Hyacinthe,  Gustave  Dore,  and  Kaulbach.  She 
is  at  present  (1878)  at  work  upon  statues  of  General  Custer  and 
Admiral  Farragut.  Her  “Spirit  of  the  Carnival,”  “The  West,” 
“ Miriam,”  a bust  of  Senator  l\Iorrell,  and  a bust  of  a child  were  at  the 
Philadelphia  Exhibition  in  1876. 

[No  response  to  circular.] 

Redgrave,  Richard,  R.  A.  (Brit.)  Bom  in  1804.  Brought  up 
to  commercial  pursuits.  Studied  from  the  Elgin  Marbles  in  the 
British  Museum  in  1823  or  ’24.  Sent  his  first  picture  to  the  Royal 
Academy,  “ The  Brent,  near  Hartwell,”  in  1825.  In  1831  he  sent  his 
“ Commencement  of  the  Massacre  of  the  Innocents”  ; in  1833,  “ Cym- 
beline”  ; in  1840  (when  he  was  elected  Associate  of  the  Royal 
Academy),  “ The  Reduced  Gentleman’s  Daughter.”  Among  his  early 
works  maybe  mentioned,  “ Quintin  Matsy’s  First  Picture”  (1839), 
“ The  Poor  Teacher  ” (1843),  “ The  Seamstress  ” (1844),  “ Fashion’s 
Slaves”  (1847),  “The  Lost  Path,”  “ The  Old  English  Homest^d,” 
“The  Flight  into  Egyj^t  ” (1851),  and  other  well-known  pictures. 
He  was  elected  Academician  in  1850,  and  has  held  several  high  official 
positions  under  the  government  in  the  different  art  institutions  of 
the  country.  His  “ Olivia’s  Return  to  her  Parents  ” and  “ Country 
Cousins”  are  in  the  Nation.al  Gallery,  London,  and  his  “Gulliver  on 
the  Farmer’s  Table  ” belongs  to  the  Sheepshanks  Collection.  He  ex- 
hibited at  the  Royal  Academy,  in  1861,  “The  Strayed  Flock”  ; in 
1863,  “ The  Way  through  the  Woods  ” ; in  1864,  “ Jane  Shore  doing 
Penance”  ; in  1866,  “ The  Woodman’s  Dinner”  ; in  1868,  “Eugene 
Aram”;  in  1869,  “From  Autumn  to  Winter”;  in  1870,  “Jack-o’ 
Lanthorn”;  in  1871,  “The  Charcoal-Burners”  ; in  1872.  “ E.xpecta- 
tion”  ; in  1873,  “The  Lady  of  the  Manor”  ; in  1874,  “Sermons  in 
Stones  ” ; in  1875,  “ The  MiR  Pool  ” and  “ Starting  for  a Holiday  ” ; 
in  1876,  “Calling  the  Sheep  to  Fold”  and  “The  Oak  of  the  ^lill- 
head  ” ; in  1877,  “ Deserted,”  “ Help  at  Hand,”  and  “ A Well-Spring 
in  the  Forest”  ; in  1878,  “The  Heir  come  of  Age”  and  “Friday 
Street.”  To  Paris,  in  1878,  he  sent  “Deserted”  and  “Starting for  a 
Holiday.”  He  is  a member  of  the  Society  of  British  Artists. 

“ ‘ Sunday  Morning  ’ is  one  of  those  avenues  wliich  Jlr.  Redgrave  now  paints  witli  so 
much  grace  and  truth.  Wlien  we  remember  tlie  verj-  liiglily  finished  figure-pictures 
w'hicli  he  was  accustomed  to  exhil)it  in  former  years,  it  is  at  least  remarkable  that  he 
should  h.ave  forsaken  a very  fascinating  manner  of  minute  execution  for  the  free  but  by 
no  means  ineffective  method  he  now  professe.s.”  — Art  Journal,  September,  1S73. 

“ Mr.  Redgrave,  the  now  veteran  painter  and  writer  upon  art,  has  beeu  a contributor 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  203 


to  the  publications  of  the  Etching  Club.  Tlie  temper  of  his  work  is  always  studious 
and  sincere  ; and,  besides  these  qualities,  it  has  a certain  tenderness  of  sentiment ; but, 
from  the  technical  point  of  view,  it  has  been  injured  by  a striving  after  finish,  which 
was  due  in  part  to  the  habit  of  working  ou  a small  scale.”  — Hamebton’s  Etching  and 
Etchers. 

Reed,  Helen.  (Am.')  A Boston  artist.  She  began  her  profes- 
sional career  in  that  city  by  the  drawing  of  portraits  in  crayon. 
Later,  she  went  to  Florence,  where  she  studied  sculpture  under  Pres- 
ton Powers,  sending  to  America  bas-reliefs  in  marble,  which  have 
been  exhibited  at  the  Boston  Art  Club,  in  New  York,  and  elsewhere. 

Regnault,  Alexandre  - Georges  - Henri.  (Fr.)  Born  at  Paris 
(1843-1871).  Prix  da  Rome,  Medal,  1869.  Son  of  the  acade- 

mician who  was  director  of  the  manufactory  at  Sevres.  Pupil  of 
Lamothe  and  Cabanel.  Regnault  contended  for  the  prfx  de  Rome  in 
1863,  and  was  much  disappointed  at  not  winning  it.  In  1864  he 
sent  two  portraits  to  the  Salon,  which  were  coldly  received.  At  length 
in  1866  the  prize  was  his,  and  he  went  to  Italy.  Soon  after  he  re- 
turned to  Paris  for  the  Exposition.  After  he  was  again  in  Rome  he 
made  twenty-seven  designs  for  the  illustration  of  “ W ey’s  Rome.”  These 
designs  are  excellent.  In  1867  he  sent  to  the  Salon  a decorative  panel ; 
in  1868,  one  painted  portrait  and  the  sketches  of  two  other  portraits. 
In  the  autumn  of  1868,  not  being  well,  this  artist  went  to  Spain,  and 
saw  General  Prim,  from  which  resulted  the  portrait  of  the  Salon  of 
1869,  which  is  now  so  well  known ; it  is  in  the  Luxembourg.  From 
Spain  Regnault  went  to  Tangiers,  and  even  in  the  short  time  he  was 
able  to  spend  there,  fell  so  in  love  with  the  life  of  that  country  that  he 
determined  to  return  when  at  liberty  to  do  so.  In  1869  he  painted  his 
“Judith,”  and  in  1870  sent  to  the  Salon  the  “ Salome,”  which  is  a 
remarkable  work.  In  the  summer  of  1870  he  went  again  to  Tangiers, 
and  painted  “ The  Execution  without  Judgment  under  the  Moorish 
Kings  of  Granada,”  now  in  the  Luxembourg.  Hearing  of  the  war, 
Regnault  returned  to  Paris  to  bear  his  part  in  the  defence  of  his  coun- 
try. On  the  19th  of  January,  1871,  he  left  Paris  with  a spirited 
party  who  made  a sortie  attempting  to  join  the  expected  army  of  suc- 
cor. He  was  killed  towards  evening  on  the  field  of  Buzenval.  No 
friend  saw  him  die,  but  the  next  day  an  ambulance-driver  found  his 
body  and  read  his  name  on  the  lining  of  his  capote.  In  the  confusion 
the  traces  of  him  were  again  lost,  and  it  was  not  until  the  25th  that 
his  friends  recovered  his  remains.  His  funeral  took  place  at  the  church 
of  Saint- Augustin,  just  at  the  sad  moment  when  the  capitulation  of 
Paris  was  made  known.  Paul  Mantz  closes  his  account  of  Regnault 
thus  : — 

“ It  vpill  soon  be  a year  since  these  fatal  things  occurred  : but  the  remembrance  of 
Regnault  remains  as  fresh  as  on  the  day  of  his  death,  an'l  yesterday,  when  at  the 
exhibition  of  the  works  of  the  pensioners  at  Rome,  we  saw  in  the  place  where  his  con- 
tribution for  the  fourth  year  should  have  been,  an  easel  draped  in  black  and  decorated 
with  green  boughs,  each  one  felt  an  oppression  at  the  heart  at  this  siiectacle,  which  told 
too  well  of  human  injustice,  and  of  the  cruelty  of  the  times.  Regnault,  crowned  already 


204  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


with  a precocious  glory,  was  scarcely  at  the  first  chapter  of  his  book  ; his  art  was  young, 
like  his  soul ; he  knew  little  of  painful  experiences,  and  in  the  constant  holiday  of  his 
life  could  not  yet  understand  tliem.  He  would  without  doubt  have  advanced  in  the 
sentiment  of  manner,  as  in  that  of  the  drama.  But  the  dream  is  ended  : the  i)resent  and 
the  future,  both  have  perished  together.  There  remains  to  us  only  his  work,  which  is 
but  a 1‘adiant  beginning,  and  the  example  of  his  death,  which  plainly  shows  that  the 
culture  of  art  extinguishes  not  tlie  religion  of  patriotism  in  the  soul.  Let  us  guard  faith- 
fully the  memory  of  the  artist  and  the  citizen,  and  on  this  tomb,  where  so  many  hopes 
are  buried,  let  us  read,  with  our  regrets  for  the  departed  master,  our  hatred  for  those 
who  killed  him.”  — Gazette  des  Beaux-Arts,  January,  1S72. 

In  the  Luxembourg,  besides  the  works  already  named,  there  are 
four  water-colors  of  Spanish  subjects  (executed  in  1868  and  ’69),  and 
fifteen  sketches,  presented  to  the  gallery  by  V.  Eegnault,  member  of 
the  Institute.  At  a Paris  sale  of  1872,  “A  Morocco  Soldier  at  the 
Gate  of  a Pasha,  Tangiers  ” sold  for  £ 960. 

“ Henri  Regnault,  who  was  killed  at  tlie  battle  of  Buzenval  in  1S71,  when  but  twenty- 
eight  years  of  age,  was  the  most  remarkable  jiainter  of  the  contemporary  school  in  point 
of  promise,  and  had  he  lived  until  maturity  would  have  attained  a pre-eminent  positiou. 
The  works  he  left  behind  him  remind  one,  in  fire  and  force,  of  Gericault’s  paintings  or 
Schiller's  Robbers Winning  the  prix  de  Rome  at  twenty -three,  he  sent  home  dur- 

ing his  absence  such  works  as  ‘ Judith  and  Holofemes,’  ‘ Salome,’  the  famous  ‘ Portrait 
of  General  Prim,’  and  an  ‘ Execution  under  the  Moors  at  Granada,*  the  la.st  two  painted 
during  a trip  to  Madrid  and  Tangiers.  In  the  portrait  of  Prim  the  horse  is  of  the  Anda- 
lusian type  : the  motif  of  the  composition  rejiresents  the  arrival  of  General  Prim  before 
Madrid,  with  the  revolutionary  forces,  October  8,  186S.  The  execution  scene  aroused  a 
profound  sensation  on  the  part  of  both  critics  and  public,  as  well  it  might,  for  the  start- 
ling character  of  the  subject  and  the  tremendous  power  of  the  treatment,  greatly  assisted 
by  that  simplicity  which  indicates  large  reserve  strength  in  the  artist  and  wonderfully 
stimulates  the  imagination  of  the  observer.  It  is  marvelous  that  artists  so  rarely  avail 
themselves  of  this  master  weapon  of  simplicity.  A marble  stainvay  with  two  or  three 
steps  leads  to  a Moorish  court  in  the  style  of  the  Alhambra,  which  is  suffused  with  a 
glowing  light  suggesting  the  burning  heat  of  a Southern  sun.  In  the  immediate  fore- 
ground are  the  two  figures  comjiosing  the  a^vful  drama,  — the  executioner  and  his  vic- 
tim. The  former,  erect,  massive,  inflexible,  impassive  as  a statue,  draws  his  cimeter 
across  his  tunic  to  wipe  off  tlie  blood  : wliile  the  mangled  trunk  of  what  was  once  a man 
has  fallen  heavily  down  the  steps,  and  the  head  lies  in  a pool  of  blood.  It  is  not  too 
much  to  say  that  this  blood  mantling  on  the  marble  slab  is  one  of  the  finest  hits  of  color 

in  modern  art This  painting  is  hung  in  the  Luxembourg,  and  persons  have  been 

so  overcome  by  its  horrible  realism  as  to  be  seized  with  faintness  when  gazing  uj>on  it. 
There  seems  to  be  an  impropriety  in  admitting  such  a work  to  a public  national  gallery. 

. . . , Either  it  is  bad  as  a work  of  art,  and  should  therefore  be  excluded,  or  it  is  good 
as  a work  of  art,  and  sliould  therefore  be  forbidden,  on  exactly  the  same  grounds  that 
the  public  are  guarded  from  the  demoralizing  influence  of  a public  execution.  Tliis. 
however,  would  not  j)revent  its  more  private  exhibition,  purely  as  a work  of  art,  to  those 
who  would  study  it  only  from  such  a x>oint  of  view.”  — Benj.\min*s  Contemporary  Art 
in  Europe. 

Reid,  George.  (^Brit.)  Born  at  Aberdeen.  A portrait-painter, 
executing  occasional  landscapes,  generally  in  the  manner  of  the  Dutch 
school,  of  -which  he  is  a disciple.  He  was  a pupil  of  ilollinger.  He 
has  sj^ent  the  greater  part  of  his  professional  life  in  his  native  city, 
where  his  studio  now  is.  He  was  elected  a full  member  of  the  Royal 
Scottish  Academy  in  1878.  Among  his  works  are,  “ The  Wa.shiug- 
Day,”  “ Whins  in  Bloom,”  etc.  To  the  Royal  Scottish  Academy  in 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  205 


1878  he  contributed  “ Dornoch,”  “ A Highland  Kitchen,”  and  several 
portraits. 

“ A more  unpretending  theme  could  scarcely  have  been  selected  than  a stretch  of  com- 
mon with  masses  of  blooming  freeze,  a bare  pathway,  down  which  sheep  are  wending, 
and  a cool,  gray  sky  overhead.  Yet  out  of  these  Mr.  Reid  has  constructed  a charming 
landscape  [‘ Whins  in  Bloom’].  — Art  Journal,  April,  1874. 

Reid,  Archibald  D.  {Brit)  Native  of  Aberdeen,  where  he  still 
resides.  He  is  a brother  of  George  Reid,  R.  S.  A.,  and  devotes  himself 
to  landscape-painting.  “ A Harvest  Scene,”  by  A.  D.  Reid,  was  at 
the  Glasgow  Fine  Arts  Loan  Exhibition  of  1878  ; the  same  year  he 
sent  to  the  Royal  Scottish  Academy,  “ Boys  and  Buoys,”  “ An  East 
Coast  Fishing  Village,”  “ Guessing  the  Catch,”  and  “ On  the  Find- 
horn,  — Autumn.” 

Reinhart,  Benjamin  Franklin,  A.  N.  A.  {Am.)  Born  near 
Waynesburg,  Pa.,  1829.  He  displayed  a talent  for  art  as  a child,  and 
notwithstanding  many  obstacles,  decided  to  follow  it  as  a profession. 
At  the  age  of  fifteen  he  found  himself  at  Pittsburg,  Pa.,  receiving 
there  a few  lessons  in  the  mixing  and  application  of  oil-colors,  be- 
ginning his  career  untutored  and  alone  by  the  jrainting  of  portraits. 
Later,  he  went  to  New  York,  where  he  spent  three  years,  studying  in 
the  schools  of  the  National  Academy.  In  1849  he  visited  Ohio  and 
several  cities  of  the  West,  painting  many  notable  men  of  that  section. 
In  the  course  of  a year  or  two  he  was  enabled  to  go  to  Europe,  settling 
first  in  Diisseldorf,  and  later  in  Paris.  He  availed  himself  of  the  best 
schools,  studying  grand  composition  and  design  with  a view  to  becom- 
ing an  historical  painter.  At  the  end  of  three  years  he  returned  to 
America,  following  his  profession  in  New  York,  Ohio,  and  New  Or- 
leans. At  the  outbreak  of  the  American  Civil  War  he  went  to  Eng- 
land, and  lived  seven  years  in  London,  where  he  met  with  decided 
success  as  a painter  of  English  genre  svabjects.  In  1868  he  came  again 
to  New  York,  where  he  has  since  resided,  devoting  himself  to  cabinet- 
sized pictures,  genre  and  historical.  He  is  an  Associate  of  the  National 
Academy.  About  forty-five  of  his  pictures  have  been  engraved. 
Among  his  more  important  works  are,  “Cleopatra”  (the  studies  for 
which  were  made  in  Egypt,  and  which  is  now  in  England,  where  it  was 
painted),  “ Evangeline,”  “The  Nymphs  of  the  Wood,”  “ Katrina  Van 
Tassel,”  “ Pocahontas,”  “Washington  receiving  the  News  of  Arnold’s 
Treason,”  “ Consolation,”  “ The  Entombment,”  “ Young  Franklin  and 
Sir  William  Keith,”  “ The  Regatta,”  and  “ The  Pride  of  the  Village.” 
all  painted  since  his  last  return  to  New  York.  Among  his  portraits 
are  those  of  the  Princess  of  Wales,  the  Duchess  of  Newcastle,  the 
Countess  of  Portsmouth,  Lady  Vane  Tempest,  Lord  Brougham,  Johri 
Phillip,  R.  A.,  Thomas  Carlyle,  Tennyson,  Mark  Lemon,  Chief  Justice 
Daly,  Charles  O’Conor,  Dr.  Marcy,  George  M.  Dallas,  James  Bu- 
chanan, E.  M.  Stanton,  Winfield  Scott,  S.  P.  Chase,  Bishops  McEl- 
vaine  and  Polk,  Elliott,  J.  C.  Breckinridge,  Stephen  A.  Douglas, 
Samuel  Houston,  and  many  more.  * 


206  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Reinhart,  Charles  S.  {Am.)  Born  at  Pittsburg,  Pa.,  1844.  Was 
engaged  upon  the  United  States  military  railroads  in  Virginia,  during 
the  Civil  War,  for  a period  of  three  years,  and,  later,  spent  four  j’ears 
in  a steel  manufactory  at  Pittsburg.  In  1 868  he  began  the  study  of 
art  in  Paris,  going  subsequently  to  Munich,  where  he  entered  the 
Royal  Academy,  and  studied  drawing  under  Professor  Streyhiiber, 
and  etching  and  painting  under  Professor  Otto.  The  greater  part  of 
his  professional  life  has  been  spent  in  New  York.  For  six  and  a half 
years  he  W'as  in  the  employ  of  Harper  and  Brothers,  opening  a studio 
of  his  own  in  the  summer  of  1876.  He  is  a member  of  the  American 
Art  Club  in  Munich,  the  Pittsburg  Art  Association,  New  York 
Etching  Club,  and  was  elected  a member  of  the  Water-Color  Society 
in  1876.  He  has  contributed  illustrations  to  various  publications  of 
the  Scribners’,  Harpers’,  Appletons’,  and  of  Osgood’s,  and  exhibits  fre- 
quently at  the  National  Academy,  oil  and  water-color  paintings,  as  well 
as  sketches  in  pen  and  ink.  “ Caught  Napping  ” and  “ Clearing  Up  ” 
ill  1876,  Reconnoitering”  in  1876,  “The  Rebuke”  in  1877,  are 
among  his  oil-pictures.  To  the  Water-Color  Exhibitions  he  sent,  in 
1877,  the  “ Close  of  Day  ” and  “ Gathering  Wood  in  1878,  “At  the 
Ferry.”  His  “ No  Trespassing”  belongs  to  Fletcher  Harper,  Jr.,  and 
his  “Noon  and  Midnight”  (both  in  black  and  white),  to  J.  Abner 
Harper. 

' “C.  S.  Reinhart’s  ‘Gathering  Wood’  is  composed  in  his  happiest  mood,  the  least 
ambitious  but  best  water-color  he  has  to  sliow,  being  remarkable,  not  only  in  figures, 
where  his  strength  lies,  but  in  color  as  well.”  — New  York  Times,  January'  22,  1S77. 

Reinherz,  Conrad.  {Prussian.)  Bom  at  Breslau.  Pupil  of  the 
Academy  of  Munich  and  of  Dietz.  His  pictures  are  landscapes,  and 
have  been  exhibited  in  the  prominent  German  exhibitions  for  some 
years.  He  ranks  high  among  the  artists  of  his  country. 

Rethel,  Alfred.  {Fr.)  Born  at  Aix-k-Chapelle  (1816  - 1859). 
When  thirteen  years  old  this  artist  executed  a design,  which  gained 
him  admission  to  the  Academy  of  Dtisseldorf.  At  twenty  he  took 
up  his  residence  in  Frankfort.  The  subjects  of  his  works  are  very 
varied.  His  historic  portraits  are  famous.  He  executed  many  fres- 
cos. In  1844  he  went  to  Rome,  and  two  years  later  commenced,  in 
the  Council  Chamber  at  Aix,  a series  of  scenes  iUustrative  of  the  life 
of  Charlemagne.  But  his  mind  became  diseased,  he  imagined  and 
suffered  more  than  we  have  space  to  recount,  and  his  life  was  all  the 
more  sad  for  its  early  promise  of  brilliancy  unfulfilled. 

Among  his  works  may  be  mentioned,  “ The  Massacre  of  St.  Boni- 
face,” “ The  Swiss  in  Prayer  before  the  Battle  of  Seinpach,  1386,” 
“Death  coming  as  a Friend,”  “The  Dance  of  Death,”  “Death  as  an 
Avenger,”  etc.  In  the  Berlin  National  Gallery  is  his  picture  of 
“ St.  Boniface,”  and  several  cartoons  of  his  pictures  at  Aix.  At 
the  Leipsic  Museum  is  his  picture  of  “ Peter  and  John  healing  the 
Lame  Man  at  the  Door  of  the  Temple.” 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  207 


Reusch,  Friedrich.  {Ger.)  Of  Berlin.  At  Philadelphia  he  ex- 
hibited “ A Group  for  a Fountain,”  in  bronze,  and  received  a medal. 

Reviere,  Briton,  A.  R.  A.  (Brit.')  Born  in  London,  1840.  Son 
of  an  artist  of  considerable  ability,  from  whom  his  early  art-training 
was  received.  After  graduating  at  the  University  of  Oxlord  he  settled 
in  the  neighborhood  of  London  in  1867,  devoting  himself  to  painting 
as  a profession.  He  first  exhibited  at  the  Royal  Academy,  in  1858, 
“ Rest  from  Labor  ” ; in  1859,  “ On  the  Road  to  Gloucester  Fair  ” ; 
in  1864,  “Iron  Bars”  and  “Romeo  and  Juliet”;  in  1866,  “The 
Poacher’s  Nurse”;  in  1867,  “Strayed  from  thp  Flock”  and  “The 
Long  Sleep,”  which  first  attracted  popular  attention  to  his  work.  In 
1868  he  sent  the  “ Last  of  the  Garrison”  ; in  1870,  “A  Midsummer 
Night’s  Dream  ” ; in  1872,  “Daniel”;  in  1873,  “Argus”;  in  1874, 
“Apollo”;  in  1876,  “A  Stern  Chase”;  in  1877,  “A  Legend  of 
St.  Patrick  ” and  “ Lazarus.”  He  was  elected  an  Associate  of  the 
National  Academy  in  1878,  contributing  “ Sympathy  ” and  “ An 
Anxious  Moment.”  Among  his  water-color  paintings  may  be  men- 
tioned “ Fox  and  Geese  ” (in  the  South  Kensington  Collection). 
His  “ Charity  ” (engraved  by  F.  Stackpole)  received  a medal  at  the 
Vienna  Exposition,  and  his  “ Circe  and  the  Companions  of  Ulysses  ” 
(engraved  by  the  same  artist)  and  “War-Time”  (R.  A.,  1875)  were 
at  the  Philadelphia  Exhibition  of  1876;  “The  Last  of  the  Garrison,” 
“ Charity,”  and  “Daniel  ” were  at  Paris  in  1878. 

“ There  is  a pathos  in  this  composition  [‘  War-Time  ’]  so  touching  as  to  make  one 
turn  sadly  away  to  search  after  more  cheery  work,  before  examining  with  any  minute- 
ness the  other  contributions  of  the  same  excellent  artist.”  — Art  Jotirnal,  June,  lS7o. 

“ ‘ Circe  and  the  Companions  of  Ulysses,’  by  Mr.  B,  Reviere,  is  conceived  and  executed 
with  that  rare  skill  which  deservedly  entitles  this  artist  to  the  high  reputation  he  enjoys. 
The  humor  is  admirably  rendered,  and  exhibits  a keen  appreciation  of  the  possibilities 
of  expression  in  swinish  physiognomy.”  — Peof.  Weir’s  Official  Report  of  the  American 
Centennial  Exhibition  of  1876. 

Rhomberg,  Hanno.  (Ger.)  Born  at  Munich  (1820  - 1869).  Stud- 
ied under  Schnorr  and  Bernhard.  He  was  much  associated  with 
Enhuber,  who  influenced  him.  His  fame  dated  from  his  “ Traveling 
Students,”  which  Louis  I.  bought  for  the  Pinakothek.  Among  his 
earlier  works  are,  “The  Work  of  a Village  Painter,”  “The  Votive 
Tablet,”  “ The  Tight  Shoe,”  “ The  Best  Scholar.”  In  1869  he 
painted  “ An  Inn  Scene.” 

Ribera,  Carlos  Louis.  (Span.-Fr.)  Bom  at  Rome,  of  Spanish  par- 
ents, about  1812.  Two  medals  at  Paris.  Pupil  of  his  father  and  of  Paul 
Delaroche.  This  painter  has  lived  much  at  Paris,  and  has  exhibited 
at  many  Salons.  Among  his  works  are,  the  “ Origin  of  the  Family  of 
Los  Girones,”  “ Battle  against  the  Moors  of  the  Sagra  of  Toledo,” 
“ Don  Rodrigo  de  Calderon  led  to  Execution,”  and  “ Mary  Magdalene 
at  the  Sepulcher.” 

Ricard,  Gustave.  (Fr.)  Bom  at  Marseilles  (1824  - 1873).  Two 
medals  at  the  Salons.  This  painter  studied  in  his  native  city  mitfl. 


208  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


1844,  when  lie  went  to  Paris  and  exhibited  the  portrait  of  ilme. 
Sabatier,  which  was  much  admired.  He  studied  under  Cogniet,  and 
made  maii}^  copies  at  the  Louvre.  Three  years  later  he  went  to 
Eome,  where  he  continued  to  make  copies  and  also  original  works. 
He  visited  Florence,  Venice,  and  England.  He  made  his  debut  at  the 
Salon  of  1850,  and  continued  to  exhibit  nine  years  ; he  then  appeared 
no  more  until  1872,  when  he  sent  the  portrait  of  Paul  de  ilusset. 
He  found  the  Salons  decidedly  against  his  ideas.  His  portraits,  how- 
ever, were  much  sought.  In  1863  the  decoration  of  the  Legion  of 
Honor  was  tendered  him,  but  he  replied,  “ It  is  too  late,”  and  could 
not  be  prevailed  upon  to  change  his  decision.  He  lived  as  simpH 
after  his  fortune  was  made  as  before,  and  admitted  but  few  to  his  home 
or  heart.  So  sudden  was  his  death  that  his  model  knocked  at  his  door 
as  he  breathed  his  last.  At  the  Wilson  E.xhibitiou  at  Brussels,  in 
1873,  was  seen  his  own  portrait,  painted  by  himself  in  his  earlier  years. 

Richards,  T.  Addison,  N.  A.  (Am.)  Born  in  London,  1820.  In 
his  3'outh  he  resided  in  the  State  of  Georgia.  In  1845  he  removed  to 
the  cit}'  of  New  York,  where,  with  the  exception  of  occasional  Amer- 
ican and  European  tours,  the  rest  of  his  professional  life  has  been 
spent.  In  1848  he  was  elected  an  Associate  of  the  National  Acadenij-, 
Academician  in  1851,  and  Corresponding  Secretarv  in  1852.  He  was 
the  first  Director  of  the  Cooper  Union  School  of  Design  for  Women, 
in  1858  to  ’60,  and  since  1867  he  has  been  Profe.ssor  of  Art  in  the 
UniversiU'  of  New  York.  Among  the  better  known  of  Hr.  Richards’ 
earh'  paintings  ma\^  be  mentioned,  “ Alastor,  or  the  Spirit  of  Soli- 
tude” (from  Shelley’s  poem),  at  the  National  Academv  in  1854  (be- 
longing to  Mr.  Wolsey  of  New  Haven)  ; “ The  Indian  Paradise,  — a 
Dream  of  the  Happv  Hunting-Ground,”  at  the  National  Academy  in 
1854  ; “ The  Edisto  River,  S.  C.”  ; “ Live-Oaks  of  the  South  ” ; “ The 
French  Broad  River,  N.  C.,”  at  the  Natiouid  Academj'  in  1859  ; “ The 
River  Rhine”  and  “Warwick  Castle,”  in  1869  (belonging  to  N. 
Jarvis).  In  1871  a collection  of  one  hundred  of  his  works  was  on  ex- 
hibition at  the  Somerville  Gallerv  in  New  York,  including  American, 
Canadian,  tropical,  Swiss,  and  English  landscapes,  and  a number  of 
fruit  and  flower  subjects,  which  were  afterwards  sold. 

His  “ Chatsworth,  England  ” and  “ Lake  Thun,  Switzerland  ” be- 
long to  A.  Jenkins  of  New  York  ; “ Italian  Lake  Scene,”  to  A.  Aiken, 
New  York ; “ Lake  Winnipiseogee,”  to  Mrs.  M.  B.  Young,  Fall 
River  ; “ Sunnyside,”  to  James  S.  Virtue,  London,  ilr.  Richards 
has  furnished  illustrations  for  manv  books  and  magazines.  The  first 
of  these  was  the  “ American  Artist,”  treating  of  flower-painting,  pub- 
lished in  Baltimore  as  earW  as  1838  ; followed  bv  “ Georgia,  Illus- 
trated,” steel-plates,  published  in  1842  ; ‘‘  The  Romance  of  American 
Landscape,”  quarto,  in  1854  ; “ Summer  Stories  of  the  South,”  in 
1853  ; “ Pictures  and  Painters,”  in  1870.  He  was  also  engaged  on 
the  Appletoiis’  “ Hand-Books  of  Travel,”  Illustrated  Guide-Books 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  209 


to  the  Hudson,  to  Saratoga,  to  Central  Park,  etc. ; as  well  as  many 
illustrated  papers  for  Harper’s  Magazine,  including  “ Sunnyside,  the 
Home  of  Irving,”  “ Idlewild,  the  Home  of  Willis,”  “ Lake  George,” 
“ The  Connecticut  Eiver,”  “ The  Eice- Lands  of  the  South,”  and  so  on, 
in  a great  many  instances  furnishing  the  letter-press  as  well  as  the 
plates. 

“ At  various  times  Mr.  Richards  has  visited  all  sections  of  the  country,  and  through 
the  medium  of  tlie  magazines  has  presented  to  his  countrymen  careful  and  accurate 
pictures  of  tlie  scenery  of  the  country,  from  the  sunny  valleys  of  New  England  to  the 
wide  savannahs  and  rolling  prairies  of  the  South  and  West.  In  addition  to  his  art 
labors  Mr.  Richards  has  also  devoted  much  time  to  literary  study,  and  many  of  the 
papei's  that  have  appeared  in  Harper  and  the  Knickerbocker  are  the  products  alike  of 
his  pen  and  pencil.”  — New  York  Evening  Express,  February  29,  1868. 

“Richards’  landscapes  range  through  a considerable  variety  of  subjects,  the  most  of 
them  being  views  studied  by  the  artist  from  choice  portions  of  American  and  European 
scenery.  Some  are  compositions,  and  all  show  that  sure  ai'tistic  sense  of  the  elements 
of  beauty  in  scenery,  which  has  heretofore  given  the  artist  his  rank  in  the  art-pro- 
ductions of  the  country.  Of  the  artist’s  methods  of  teclinical  execution  it  is  needless  to 
speak  at  this  day,  his  style  jirobably  being  as  familiar  to  the  public  as  that  of  any 
of  the  veteran  exhibitors  on  the  walls  of  the  National  Academy.”  — Home  Journal, 
March  22,  1871. 

Richards,  William  T.,  N.  A.  (Am.)  Born  in  Philadelphia,  1833. 
At  an  early  age  he  turned  his  attention  to  the  study  of  art,  and  be- 
came a painter  by  profession  in  1853.  In  1855  he  went  to  Europe, 
spending  a year  in  study  and  observation  in  Florence,  Eome,  and 
Paris.  In  1856  he  opened  a studio  in  Philadelphia,  and  in  1866  re- 
turned to  Europe  for  a short  visit.  He  is  an  Honorary  Member  of 
the  National  Academy  of  Design  and  an  Associate  Member  of  the 
Water-Color  Society.  His  summers  of  late  years  have  been  spent  at 
Newport,  E.  I.  Among  his  works  in  oil  are  “ Mid-Ocean,”  “ New 
England  Coast,”  “At  Atlantic  City,”  “Midsummer,”  “June  Woods,” 
“Wood  Scene,”  “Spring,”  “Summer  Afternoon,”  “Ebb  Tide,”  “ Old 
Orchards  at  Newport,”  “The  Inlet  near  Newport,”  and  “Out  in  the 
Country.”  In  1871  he  sent  to  the  Water-Color  Exhibition,  “ Mount 
Desert,”  “Pulpit  Eock,  Nahant  ” ; in  1874,  “Off  the  Spar  Buoy, 
Atlantic  City”;  in  1875,  “ Lake  Squam”  and  “The  Third  Beach, 
Newport”;  in  1876,  “Almy’s  Pond”  and  “Gooseberry  Island,” 
near  Newport ; in  1877,  “Autumn,  near  Newport”;  in  1878,  “So’- 
west  Point,  Conanicut  ” and  “ Almy’s  Pond,  Newport.”  He  sent 
to  the  Paris  Exposition  of  1867  his  “Foggy  Day  at  Nantucket” 
(belonging  to  George  Whitney)  and  his  “Woods  in  June”  (belonging 
to  Eobert  L.  Stuart).  To  the  American  Centennial  Exhibition  of 
1876  he  contributed  “The  Wissahickon”  (in  oil)  and  “Old  Trees  at 
Atlantic  City”  and  “Paradise,  Newport”  (in  water-colors),  for  which 
he  was  commended  by  the  .judges.  His  “Going  to  the  Spring”  and 
“First  Beach,  Newport”  belonged  to  John  Taylor  Johnston,  and  his 
“Sunset  on  the  Ocean,”  to  S.  J.  Harriot.  His  “Spring,”  at  the 
Blodgett  sale,  brought  $ 1,610.  To  Paris,  in  1878,  he  sent  “South- 

N 


210  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


west  Point,  Conanicut,”  in  water-color,  and  three  pictures  in  oil,  — 
“ In  the  Woods,”  “ Spring,”  and  “ The  Forest.” 

“ So  carefully  painted  in  some  of  Richards’  landscapes  are  the  leaves,  gra-sses,  grain- 
stalks,  weeds,  stones,  and  flowers,  that  we  seem  not  to  he  looking  at  a distant  prospect, 
but  lying  on  the  ground  with  herbage  and  blossoms  directly  under  our  eyes.”  — Tcckeb- 
man's  Book  of  the  Artists. 

“ Mr.  W.  T.  Richards  contributed  but  a single  oil-painting,  ‘ The  Wissahickon,’  not 
one  of  his  best  pictures.  This  artist  is  a careful,  conscientious  student  of  Nature,  hut 
it  is  only  recently  that  he  has  permitted  himself  to  exercise  that  freedom  and  largeness 
of  vision  characteristic  of  m.nture  art ; his  later  works  manifest  this  in  a marked  degree. 
No  painter  is  more  thoroughly  master  of  the  sea  and  waves  in  motion  than  is  this  art- 
ist.” — Prof.  Weir’s  Official  Report  of  the  American  Centennial  Exhibition  o/lS76. 

‘‘  William  T.  Richards’  ‘ Gull  Rock,  Newport,  — Fog  coming  in  ’ [in  oil,  N.  A.,  1877] 
shows  water  without  life  or  transparency,  and  rocks  wanting  in  character.  The  picture 
is  quite  without  depth  or  originality.”  — New  York  Times,  April  S,  1877. 

“ There  is  no  storm  [‘  Gull  Rock,’  N.  A. , 1877],  but  the  dark  green  sea  lifts  with  a deep 
pulsation,  and  dashes  over  the  rock  with  a resistless  motion  that  is  very  suggestive  of 
latent  power.  It  is  a jiicture  full  of  large  simplicity  and  quiet  truth  that  study  cannot 
easily  exhaust.”  — Art  Journal,  May,  1877. 

‘ ‘ Richards  is  one  of  the  first  American  painters  who  adopted  the  pre-Raphaelite  style 
of  treatment  in  their  pictures  ; this  was  in  1858,  and  since  that  time  no  artist  in  this 
country  has  achieved  greater  success  in  the  profession.  ....  His  drawing  is  never  at 
fault,  and  the  crispness  of  his  touch  is  charming.”  — Art  Journal,  August,  1877. 

Richards,  Orren  C.  (^m.)  Born  in  South  Boston,  1842.  In 
1857  he  began  the  study  of  decoration  with  Thomas  Savory  in  Boston. 
In  1860  he  studied  under  George  Inness  at  Medfield,  Mass.  He  en- 
tered the  army  at  the  outbreak  of  the  Civil  War.  He  has  painted 
scenery  at  nearly  all  of  the  Boston  theaters,  and  easel-pictures  of  still- 
life,  in  oil.  His  “Peonies”  (belonging  to  Mrs.  E.  E.  Slack)  was  at 
the  Mechanics’  Fair,  Boston,  in  1878. 

Richardson,  T.  M.  (Brit.)  Contemporary  English  water-color 
artist,  residing  in  London,  and  for  many  years  a member  of  the  Old 
Water-Color  Society.  He  p.aints  landscapes,  generally  of  the  High- 
lands of  Scotland  and  the  Continent.  Among  his  works,  exhibited  in 
different  seasons,  are,  “LochTulla,”  “Loch  Awe,”  “Glen  Xevis,”  “Look- 
ing towards  Glencoe,”  “ Argyleshire,”  “ On  the  River  Oran,”  “ Bone 
Church,  Isle  of  Wight,”  “Lago  Maggiore,”  “Via  Mala,”  “Market- 
Boats,  Lake  Como,”  etc. 

“ In  No.  36  [Society  of  Painters  in  'Water-Colors,  1873],  by  T.  M.  Richardson,  we  have 
one  of  those  luxuriously  colored  and  elaborately  worked  drawings  on  which  this  artist 
has  built  his  reputation.  It  is  entitled  ‘ In  the  Neighborhood  of  the  Town  of  Cozenzos, 
Northern  Calabria,  ’ The  mountains,  of  which  a mass  closes  the  middle  distance,  are  most 
skillfully  drawn  and  richly  colored,  and  in  the  entire  composition  there  is  a complete- 
ness which  almost  bespeaks  a scenic  study.”  — Art  Joumalf  June,  1S73. 

Richet,  L^on.  (FV.)  Born  at  Solesmes.  Pupil  of  Diaz,  whose 
style  he  has  adopted.  His  pictures  are  charming.  In  the  collection 
of  Mrs.  H.  E.  Maynard  of  Boston  is  “Near  NouAion,  in  Picardy.” 
His  works  are  rare  in  America.  At  the  Salon  of  1877  he  exhibited 
“Aurora”  and  “Route  of  the  Artists,  Forest  of  Fontainebleau”  ; in 
1876,  “The  Boundariesof  Barbison,  Fore.-^tof  Fontainebleau  ’’.and  “After 
the  Storm”;  in  1878,  “A  Scene  near  Evreux”  and  “The  Gleaners,” 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  211 


Richmond,  George,  E.  A.  {Brit.)  Born  in  1809.  Entered  the 
schools  of  the  Eoyal  Academy  in  1824.  He  made  his  most  decided 
success  as  a portrait-painter,  at  first  in  water-colors  and  crayon,  later 
in  oEs.  He  was  elected  an  Associate  of  the  Royal  Academy  in  1859, 
and  Academician  in  1867.  Among  his  later  portraits  may  be  men- 
tioned, “ The  Earl  of  Elgin,”  in  1860  ; “Edward  M.  Ward,  R.  A.,”  in 
1861  ; “The  Duke  of  Buccleuch,”  in  1865  ; “Sir  Moses  Montefiore,” 
in  1875  ; and  many  prominent  people  of  church  and  state.  Among 
his  paintings  of  another  class  are,  “The  Agony  in  the  Garden,”  in 
1858  ; “ Sunset  from  Hyde  Park,”  in  1861  ; and  “ A Scene  from 
‘Comus,’  — the  Measure,”  in  1864. 

“ The  art  of  George  Richmond  is  studious  and  painstaking  to  almost  too  great  a de- 
gree, leaving  upon  the  mind  not  a very  vivid  sense  of  freshness  of  vision  in  the  painter. 
The  work  is  often  overlabored,  the  necessary  impression  of  spontaneous  vitality  drawn 
unfairly  out  by  hard  and  cautious  style.  Still  in  everything  from  this  painter’s  hands 
we  have  work  that  carries  with  it  a conviction  of  conscientious  and  well-directed  effort, 
oftentimes  yielding  a cultured  and  satisfying  result.”  — AH  Journal,  July,  1873. 

Richomme,  Jules.  (Fr.)  Born  at  Paris,  1818.  Chevalier  of 
the  Legion  of  Honor.  Pupil  of  Drolling.  Made  his  debut  as  a por- 
trait-painter in  1839.  Richomme  has  executed  mural  paintings  in 
the  church  of  Saint-Severin.  at  Paris,  and  in  several  provincial 
churches.  His  picture  of  “St.  Peter  of  Alcantara  healing  a Sick 
Child”  (1864)  is  at  the  Luxembourg.  In  1877  he  exhibited  “An 
Arab  Woman  ” and  “ The  Chinese  Doll  ” ; in  1876,  “ The  Dove  ” and 
a portrait  of  the  Marquise  Ginori  ; in  1875,  “The  Shower,”  “Tlie 
Little  Idle  One,”  and  the  “ First  Lesson  on  the  Violin.” 

Richter,  Adrien-Louis.  (Ger.)  Born  at  Dresden,  1803.  This 
artist  was,  in  early  life,  a painter  and  designer,  as  well  as  an  engraver. 
But  his  labors  as  a designer  were  the  most  important,  and  occasioned 
his  traveling  quite  extensively.  In  1828  he  was  appointed  to  the 
School  of  Design  of  the  porcelain  factory  at  Meissen,  and  later  he 
became  professor  and  president  of  the  landscape  studio  in  the  Academy 
of  Dresden,  and  also  a member  of  the  Council  of  that  Academy-  His 
oil-paintings  are  few  in  comparison  with  his  designs  and  engravings, 
but  they  are  such  as  give  him  good  rank  among  German  landscape- 
painters. 

Richter,  Gustav.  (Ger.)  Born  at  Berlin  about  1822.  Professor 
and  member  of  the  Senate  of  the  Royal  Academy  of  Arts  in  Berlin, 
and  member  of  the  Academies  of  Munich  and  Vienna.  Grand  medal 
in  Berlin,  1864,  and  other  medals  at  Paris,  Brussels,  Vienna,  and 
Philadelphia.  This  artist  is  known  in  America  by  chromos  from  his 
pictures,  which  are  brilliant  in  color,  and  charming  to  the  public  gen- 
erally. His  Oriental  scenes  are  very  rich  in  effect.  His  portraits  are 
excellent.  Among  his  works  are,  the  “ Odalisque,”  “ The  Raising  of 
Jairus’  Daughter”  (at  the  National  Gallery,  Berlin),  and  many  por- 
traits. He  sent  to  the  Philadelphia  Exposition  a portrait  of  the  Hon. 
George  Bancroft.  At  the  Exposition  at  the  Academy  at  Berlin,  in 


212  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


1876,  he  exhibited  three  portraits  and  the  “ Lowenritt,”  and  at  the 
Paris  Exposition,  1878,  three  portraits. 

“ In  spite  of  the  artificial  arrangement  of  his  works  his  excellence  is  chiefly  shown  in 
his  delicate  painting,  his  well-balanced  parts,  his  careful  and  often  corrected  modeling, 
and  the  beautiful  coloring  in  the  principal  lights,  while  his  shadows  so  round  the  flesh 
parts  that  they  are  softened  to  an  ivory-like  smoothness.”  — E.  D.  in  Zeilschrxfi  fur  Ml- 
dende  Kunst,  1875. 

Riedel,  August,  (Ger.)  Bom  at  Bayreuth,  1800.  Professor  of 
St.  Luke’s  Academy  at  Borne.  Member  of  the  Academies  of  Berlin, 
Munich,  Vienna,  and  St.  Petersburg.  Pupil  of  the  Academy  of  Mu- 
nich. His  pictures  are  landscapes  and  genre  scenes,  and  are  in  many 
gallerie.s,  both  public  and  private.  The  “Albanian  Girls”  and  “Bath- 
ing Girls  ” are  in  the  National  Gallery,  Berlin. 

Riefstahl,  Wilhelm  Ludwig  Friedrich.  (Ger.)  Bom  at  Neu- 
Strellitz,  1827.  Director  of  the  Art  School  at  Carlsruhe.  Medals 
at  Berlin;  and  member  of  Berlin  Academy,  at  which  place  he  studied. 
In  1848  he  made  the  designs  for  illustrating  “ Kugler’s  History  of 
Art.”  He  traveled  much  in  mountainous  countries,  and  was  passion- 
ately fond  of  their  scenery.  In  1869  he  went  to  Borne.  At  the  Na- 
tional Gallery  at  Berlin  are  his  “ Mountain  Chapel  with  Herdsmen  at 
Devotion”  and  “All  Souls’  Day  in  Bregenz.”  In  Berlin,  in  1876,  he 
exhibited  “A  Convent  on  the  Inn”;  and  at  the  Paris  Exposition  of 
1878,  “The  Pantheon  of  Agrippa  at  Borne”  and  “Attendant  le  cer- 
cueil.” 

Eugene  Miintz  says  of  Biefstahl  : “ He  sees  justly,  feels  profoundly, 
and  knows  how  to  express  what  he  feels.” 

Ridsener,  Louis-Antoine-L^on.  (Fr.)  Born  at  Paris,  1808. 
Chevalier  of  the  Legion  of  Honor.  Pupil  of  David  and  Gros.  His 
picture  of  “ Erigone  ” (1864)  is  at  the  Luxembourg.  Among  his  works 
are,  “ Boses,”  “ Bacchus  and  Ariadne,”  “ The  Awaking,”  “ The  Toi- 
lette,” “ Country  Pleasures,”  “ The  Brook  in  the  Wood,”  and  “ Le  doux 
sommeil  secoue  sur  lui  ses  pavots.” 

Rimmer,  William.  (Am.)  Bom  in  Boston,  1821.  He  was  edu- 
cated for  the  medical  profession,  devoting  himself  particularly  to 
anatomy.  Later,  he  turned  his  attention  to  sculpture  and  to  art  in- 
struction. He  has  delivered  a valuable  course  of  lectures  on  art  anat- 
omy at  the  Lowell  Institute,  Boston,  at  the  University  at  Cambridge, 
Mass.,  before  the  National  Academy,  New  York,  and  elsewhere.  He 
was  Director  of  the  School  of  Design  of  the  Cooper  Institute,  New 
York,  for  some  years.  He  published,  in  1864,  a volume  entitled  “ The 
Elements  of  Design.”  Among  his  sculptured  works  are  statues  of 
Alexander  Hamilton,  “ Falling  Gladiator,”  etc.,  and  a colossal  head 
of  “ St.  Stephen,”  in  granite. 

“ This  artist  [Dr.  Rimmer]  has  wrought  a figure  of  the  most  rare  anatomical  power 
and  truth  : and  a group  which  was  mistaken  for  Bunyan’s  ‘Great-Heart  and  Giant  Grim’ 
in  mortal  struggle,  but  which  was  intended  to  represent  ‘ Union  and  Secession.’  ” — 
Tuckerman's  Book  of  the  Artists. 


ARTISTS  OF  THE  NINETEENTH  CENTURY,  213 


“ Dr.  Rimmer,  an  accomplished  teacher  of  design,  of  much  original  mental  force, 
destined  to  do  good  service  to  American  art,  has  given  a striking  example  of  his  capacity 
for  realistic  sculpture  in  the  model  of  an  athlete  reeling  under  the  force  of  a dcath- 

hlow.  The  knowledge  of  anatomical  science  displaj’ed  is  wonderful Tn  a head 

of  ‘ St.  Stephen,’  carved  by  himself  from  granite,  Dr.  Rimmer  has  shown  a finp  capacity 
for  lofty  expression.”  — Jarves,  Art  Idea. 

Rinehart,  William  Henry.  (Am.)  Born  in  Frederick,  Md.  (1825- 
1874).  In  his  youth  he  was  apprenticed  to  a stone-cutter  in  Balti- 
more, studying  in  the  night  schools  of  the  Maryland  Institute.  He 
went  to  Italy  in  1855,  studying  and  working  at  sculpture  in  Florence 
for  three  years.  He  returned  to  Baltimore  in  1858,  but  after  a short 
stay,  went  again  to  Italy,  opening  a studio  in  Rome,  where  the  rest  of 
his  life  w^as  spent.  Among  his  works  maybe  mentioned,  “ The  Wood- 
man” (one  of  the  earliest),  “ Leander,”  “ Night,”  “ Morning,”  “Woman 
of  Samaria,”  “ Indian  Maiden,”  “ Rebecca,”  “ A Nymph,”  “ Endym- 
ion,”  “Hero,”  “ Atalanta,”  and  “Clytie”  (in  the  Peabody  Institute, 
Baltimore).  He  executed  many  portrait  busts.  His  statue  of  Chief 
Justice  Taney,  ordered  by  the  State,  of  Maryland,  was  unveiled  at 
Annapolis  in  1872. 

“Rinehart’s  ‘Woman  of  Samaria’  is  admired  for  the  deep  and  pure  thoughtfulness 
of  her  expression,  as  if  the  words  of  Christ  had  sunk  into  her  soul.  He  has  charmingly 
illustrated  maternal  affection  in  his  ‘ Latona  and  her  Infant,’  while  two  sleeping  babes  on 
one  pillow  are  full  of  nature  and  beauty.” — Tuckerman’s  Book  of  the  Artists. 

Ritchie,  Alexander  H.,  N.  A.  (Brit.-Am.)  Bora  in  Glasgow, 
1822.  He  studied  drawing  in  the  Royal  Institution  at  Edinburgh, 
under  Sir  William  Allan,  and  during  his  first  year  received  four  pre- 
miums. He  has  been  a resident  of  New  York  for  many  years.  In 
1871  he  was  elected  a member  of  the  National  Academy.  He  is  a 
painter  and  engraver,  and  is  higlily  regarded  in  botli  branches  of  his 
profession.  Among  his  w'orks  in  oils  are,  “ Mercy  knocking  at  the 
Gate,”  “ Fitting  out  Moses  for  the  Fair,”  “ Death  oi'  Lincoln,”  “ Baby, 
who ’s  that?  ” (portraits),  and  portraits  of  Dr.  McCosh  of  Princeton, 
Prof.  Charles  Hodge  of  Princeton,  etc.,  all  exhil)ited  at  the  National 
Academy.  He  engraved  “ Washington  and  his  Generals  ” and  “ Mercy 
at  the  Gate,”  after  his  owm  pictures  ; “ Contemplation,”  after  S.  J.  Guy; 
“ Washington  entering  New  York,”  “ The  First  Blow  for  Liberty,” 
and  “ The  March  to  the  Sea,”  after  Darley;  “ Lady  Washington’s  Re- 
ception,” after  Huntington ; etc. 

Rivalta,  Augusto.  (Ital.)  Bom  at  Genoa,  1837.  Professor  in 
the  Academy  of  Florence.  He  has  received  many  medals.  His  early 
inclination  for  art  w'as  cultivated,  and  he  soon  became  known  for  his 
taste  in  composition  and  his  skill  in  execution.  He  went  to  Florence, 
and  there  modeled  his  statue  of  “ Clinzia,”  which  he  sent  to  the  Accade- 
mia  Ligure.  His  most  famous  work  is  called  “ An  Episode  of  War,” 
and  represents  a wounded  soldier  supported  by  a brother  soldier  and 
a Sister  of  Charity.  It  is  full  of  feeling,  and  admirably  e.xecuted. 
The  subject  was  suggested  to  the  artist  by  his  own  experience  as  a vol- 


214  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


imteer.  His  statues  of  Niccolini  the  poet  for  Florence,  and  Cavonr 
for  Naples,  are  very  fine.  For  the  Hospital  for  the  Poor  in  Genoa 
he  made  the  statue  of  Palleri  and  the  monument  to  the  Marchesa 
Corsi  Pallavicini.  For  the  celebrated  Cemetery  of  Stagheno  he  has 
made  several  monuments;  those  of  Giuseppina  Croce  and  Bartolomeo 
Savi  deserve  mention. 

Robbe,  Louis-Marie-Dominique-Romain.  {Belgian.)  Born  at 
Courtrai,  1807.  Chevalier  of  the  Legion  of  Honor,  of  the  Order  of 
Leopold,  and  of  that  of  Charles  111.  of  Spain.  His  pictures  are  of 
animals,  and  much  admired.  His  “ Shepherd  and  Flock  ” is  in  the 
collection  of  Mrs.  H.  E.  Maynard,  Boston. 

Robbe,  Henri.  {Belgian.)  Brother  of  the  preceding.  He  is  a 
painter  of  fruits  and  flowers,  and  has  received  several  medals. 

Robbins,  Horace  W.,  N.  A.  {Am.)  Bom  in  Mobile,  Ala.,  1842. 
"When  about  twenty-one  years  of  age  he  entered  the  studio  of  James 
kl.  Hart  in  New  York,  where  he  spent  a few  months.  Later,  he 
opened  a studio  of  his  ovm.  In  1865  he  ^•isited  Jamaica  with  F.  E. 
Church,  going  thence  directly  to  Europe.  He  worked  in  Paris  dur- 
ing three  winters,  from  that  of  1865,  making  sketching-tours  during 
the  summer  months  in  Switzerland  and  elsewhere.  He  returned  to 
New  York  in  the  fall  of  1867,  and  has  since  resided  principally  in 
that  city.  He  was  elected  an  Associate  of  the  National  Academy  in 
1864,  and  Academician  in  1878.  He  is  Secretary  of  the  Artists’  Fund 
Society,  and  has  been  a member  of  the  M'ater-Color  Society  for  some 
years.  To  the  National  Academy  in  1869  he  sent,  “ The  Close  of 
a Cloudy  Day”;  in  1870,  “A  TropicM  View”  (belonging  to  Dr. 
F.  N.  Otis)  ; in  1871,  “An  Autumnal  Morning”  (belonging  to  D.  C. 
Blodgett)  ; in  1873,  “A  Morning  View  in  Switzerland”;  in  1874, 
“Morning  in  Jamaica”;  in  1875,  “ Passing  Shower,  Jamaica  ” (be- 
longing to  J.  '\banderpoel  of  New  York)  ; in  1876,  “ Flooded  Mead- 
ows ” ; in  1877,  “Harbor  Islands,  Lake  George”;  in  1878,  “Morning 
in  the  Adirondacks”  and  “ Sunny  Banks  of  the  Aus;able.”  Among 
his  contributions  to  the  E.vhibitions  of  the  M'ater-Color  Society  may 
be  mentioned,  “ A New  England  Road  Scene,”  in  1877,  and  “ A 
New  England  Homestead,”  in  1878. 

To  the  Centennial  Exhibition  at  Philadelphia,  in  1876,  he  contrib- 
uted “ New  England, — Autumn”  and  “Farmington  River,  Ct.”;  to 
the  Paris  Exposition  of  1878,  “ Harbor  Islands,  Lake  George.”  His 
“ White  Mountain  Scenery  ” belongs  to  M".  S.  G.  Baker  of  Baltimore  ; 
“ Mount  Madison,”  to  H.  W.  Robbins  ; “ Roadside  Elms,”  to  Mrs. 
Attwood  of  Poughkeepsie  ; “ Mount  Philip,  from  the  Farmington 
River,”  to  G.  D.  Phelps  of  New  York  ; and  “ The  Freshet,”  to  Mrs. 
A.  R.  Phelps  of  Hartford. 

Rbber,  Ernst.  {Ger.)  Born  at  Elberfeld,  1849.  Pupil  of  the 
Diisseldorf  Academy  and  of  E.  Bendemann.  At  the  National  GaUery 
of  Berlin  are  some  of  his  decorative  paintings  in  the  Halle  von  der 
Nische. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  215 


Rbber,  Fritz.  {Ger.)  Born  at  Elberfeld,  1851.  Brother  and  pupil 
of  the  preceding.  He  also  painted  in  the  National  Gallery  at  Berlin. 

Robert,  Leo-Paul.  (Swiss.)  Born  at  Bienne.  Medal  in  1877. 
Pupil  of  his  father  and  Geronie.  At  the  Salon  of  1877  he  exhibited 
“ The  Zephyrs  of  a Beautiful  Evening.” 

Robert-rieury,  Joseph-Nicolas.  (Fr.)  Born  at  Cologne,  of 
French  jjarents,  1797.  Member  of  the  Institute.  Commander  of  the 
Legion  of  Honor.  He  studied  in  Paris  under  Girodet,  Gros,  and 
Horace  Vernet.  Visited  Italy,  and  remained  there  several  years. 
Made  his  debut  at  the  Salon  of  1824.  At  the  Luxembourg  are  his 
“Conference  at  Poissy  in  1561”  (1840),  “Jane  Shore”  (1850),  and 
the  “ Pillage  of  a House  in  the  Jews’  Quarter  at  Venice  in  the  Middle 
Ages  ” (1855).  “ The  Entrance  of  Clovis  into  Tours  ” is  at  Versailles. 

This  painter  has  been  Professor  at  I’Ecole  des  Beaux- Arts  in  Paris  and 
at  the  Villa  Medici  at  Borne.  In  1864  he  was  a member  of  the 
Municipal  Council  of  Paris.  The  following  important  works  were 
executed  by  Robert-Fleurj’-  for  the  decoration  of  the  Audience  Hall 
in  the  new  palace  of  the  Tribunal  of  Commerce  : “ The  Institution 
of  the  Juges  consuls,  in  1563,”  “ The  Promulgation  of  the  Ordinance 
of  Commerce  in  1673,”  “ Napoleon  receiving  the  Code  of  Commerce 
presented  to  him  by  President  Vignon  in  1807,”  and  “ Najjoleon  III. 
visiting  the  New  Palace  of  the  Tribunal  of  Commerce  in  1865.”  Con- 
cerning these  works  Rene  Menard  wrote  in  the  “ Gazette  des  Beaux- 
Arts,”  February,  1869,  a long  article,  which  closes  thus  : — 

**  As  a whole,  these  great  canvases  are  an  honor  to  Robert-Fleury,  and  prove  what 
veritable  power  there  is  in  that  talent  which  holds  its  superiority  desi>it.e  tlie  most  un- 
favorable conditions.  Robert-Fleury  had  never  attempted  works  of  grand  dimensions, 
and  his  debut  is  the  work  of  a master  ; he  had  never  painted  official  subjects,  and  in  this 
difficult  and  thankless  style  he  takes  a first  rank.  All  that  is  wanting  to  make  his  work 
comxilete  is  a greater  freedom  of  insiiiration.  A man  of  talent  is  always  master  of  his 
execution,  because  he  rules  it  with  all  the  superiority  of  his  science  ; but  insiiiration  de- 
mands that  it  shall  not  be  shackled  by  restrictions  which  straiten  it.  It  is  only  able  to 
soar  when  it  is  personal,  and  has  the  fundamental  laws  of  art  alone  for  its  guide.” 

At  the  Pereire  sale  in  Paris,  1872,  “Charles  V.  in  the  Monastery  of 
St.  Just  ” sold  for  £ 1,600.  At  the  Oppenheim  sale,  Paris,  1877,  “ The 
Sack  of  Rome  ” sold  for  12,700  francs. 

Robert-Fleury,  Tony.  (Fr.)  Born  at  Paris.  Chevalier  of  the 
Legion  of  Honor.  Son  of  Joseph-Nicolas  Robert-Fleury.  Pupil  of 
Delaroche  and  Cogniet.  Painter  of  historical  sulijects  and  portraits. 
In  the  Luxembourg  are  his  “ Les  vieilles  de  la  Place  Navona,  Rome” 
(1867),  and  “ The  Last  Day  of  Corinth”  (1870).  In  1866  he  exhib- 
ited “ Varsovie,  the  8th  of  April,  1861,”  and  received  for  it  his  first 
medal ; in  1873,  “ The  Danaides  ” ; in  1874,  “ Charlotte  Corday  at 
Caen,  1793”  ; in  1876,  “ Pinel,  Chief  Physician  at  the  Salpetriere  in 
1795”  ; in  1877,  two  portraits. 

Roberts,  David,  R.  A.  (Brit.)  Borir  in  Edinburgh  (1796  - 1864). 
He  served  an  apprenticeship  of  seven  years  in  his  native  city,  as 


216  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


house-painter  and  decorator,  and  was  engaged  for  some  time  as  a 
scene-painter,  with  a company  of  strolling  players.  He  received  no 
regular  instruction  in  art.  He  painted  scenes  for  the  theaters  of 
Edinburgh  and  Glasgow,  and  for  Drury  Lane  Theater  in  London  in 
1822.  He  exhibited  pictures  in  Scotland,  and  in  several  proHncial 
cities  of  England,  sending  his  first  work  to  the  Royal  Academy,  in 
1826,  “ A View  of  Rouen  Cathedral.”  In  1838  he  was  elected  an 
Associate  of  the  Royal  Academy,  and  Academician  in  1841.  He  trav- 
eled extensively  on  the  Continent  and  in  the  East,  painting  out  of 
England  some  of  his  best-known  works,  “ Jerusalem  from  the  Mount 
of  Olives,”  “ The  Church  of  the  Holy  Hativity,  Bethlehem,”  “ The 
Gateway  of  the  Great  Temple,  Baalbec,”  etc.  Later,  he  studied  in 
Italy,  and  in  his  own  country,  exhibiting  at  the  Royal  Academy,  in 
1860,  “Venice,  the  Piazza  of  St.  Mark’s,”  “A  Street  in  Antwerp,” 

“ The  Interior  of  the  Cathedral  of  Pisa,”  and  “ The  Coliseum,  Rome,  ' 

— Evening”  ; in  1881  he  sent  “ Ruins  of  the  Temple  of  the  Sun  at  ; 

Baalbec”  and  “A  Fete-Day  at  St.  Peter’s”  ; in  1862,  “A  Chapel  of  i 

the  Cathedral  of  Notre  Dame,  Bruges,”  and  a series  of  views  on  the  ; 

river  Thames,  from  Chelsea  to  Greenudch,  which  were  continued  the  ‘ 

foUowing  year,  and  upon  which  he  was  at  work  at  the  time  of  his  j 

sudden  death  in  1864.  His  “ Chancel  of  the  Church  of  St.  Paul,  j 

Antwerp”  (1848)  and  “The  Interior  of  Burgos  Cathedral,  North  I 

Transept”  (1835,  belonging  to  the  Vernon  Collection)  are  in  the  Na- 
tional Gallery,  London.  His  “ Crypt,  Roslin  Castle,”  “ The  Gate  of 
Cairo”  (1843),  and  “ Old  Buildings  on  the  Darro,  Granada”  are  in 
the  Cruikshank  Collection.  Many  of  his  works  have  been  engraved, 
and  £ 16,000  was  raised  by  the  exhibition  and  sale  of  some  of  his 
sketches  and  paintings  in  1865.  He  was  an  Honorary  Member  of 
the  Royal  Scottish  Academy,  and  of  several  continental  institutions 
of  a similar  kind. 

“ From  liis  early  occupation  as  scene-painter,  Roberts  borrovred  broad  effects  wliich  | 

saved  him  alike  from  trifling  minuteness  and  sei^’ile  imitation His  work  was  nni-  « 

formly  scenic,  made  up  of  buildings  and  street  scenes,  and.  althougli  he  knew  how  to 
vary  and  animate  these  by  the  introduction  of  numerous  chamcteristic  figures,  thej*  were 

apt  to  partake  of  the  groupings  of  stage  processions But  he  loved  the  buildings 

which  he  was  content  to  paint,  loved  every  vaulted  arch  and  wreathed  pillar,  down  to 
the  individual  stones  of  the  pavement,  and  rendered  them  all  with  rare  fidelity  and 
grace.”  — ^Irs.  Tytler’s  Modern  Painters  and  Paintings. 

Among  the  members  of  the  Academy  we  have  at  present  only  one  professedly  archi- 
tectural draughtsman  of  note,  David  Roberts,  whose  reputation  is  probably  further  ex- 

t-ended  on  the  Continent  than  that  of  any  other  of  our  artists  except  Landseer Tlie 

fidelity  of  intention  and  honesty  of  system  of  Roberts  have  been,  however,  always  meri- 
torious ; his  drawing  of  architecture  is  dependent  on  no  unintelligible  linens,  or  blots,  or 
substituted  tj’pes  ; the  main  lines  of  the  real  design  are  always  there,  and  its  hollowness 
and  undercutting  given  with  exquisite  feeling.  His  sense  of  solidity  of  form  is  very 
peculiar,  leading  him  to  dwell  with  great  delight  on  the  roundings  of  edges  and  angles  : 
his  execution  is  dexterous  and  delicate,  singularly  so,  in  oil ; and  his  sense  of  chiaro- 
scuro refined.”  — Ruskin’s  Modern  Painters. 

Roberts,  Edward  J.  (Brit.)  (1797-1S65.)  An  engraver.  Pupil 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  217 


and  for  some  years  an  assistant  of  Heath  in  London,  doing  much  fine 
work  in  the  illustrating  of  gift-hooks  and  elaborate  editions  of  stand- 
ard authors.  His  etchings  are  still  highly  regarded  by  critics  and 
connoisseurs.  He  executed  but  few  large  plates. 

Roberts,  Thomas.  (Brit.)  Born  in  1820.  Educated  as  an  en- 
graver, he  followed  that  branch  of  the  profession  for  some  time,  de- 
voting himself  to  the  brush  when  about  twenty-five  years  of  age.  He 
was  made  a member  of  the  Society  of  British  Artists  in  1855,  and 
has  been  its  secretary  for  upwards  of  twenty  years.  Among  his  later 
works  are,  “ The  Image  of  Ids  Father,”  in  1877  ; and  “ The  Missing 
Curl,”  in  1878.  To  the  Philadelphia  Exhibition,  in  1876,  he  sent 
“ The  Night  before  Bosworth.” 

Roberts,  Howard.  (Am.)  Born  in  Philadelphia,  1843.  He 
began  his  art  studies  under  J.  A.  Bailly,  in  the  Pennsylvania  Academy 
of  Fine  Arts.  At  the  age  of  twenty-three  he  went  to  Europe,  enter- 
ing I’Ecole  des  Beaux-Arts  in  Paris,  and  spending  some  years  in  that 
city  in  study  under  Dumont  and  Gumery.  Returning  to  America,  he 
opened  a studio  in  Philadelphia,  and  modeled  his  first  important 
work,  a statuette  of  “ Hester  and  Pearl,”  from  the  “ Scarlet  Letter,” 
exhibited  at  the  Academy  of  Fine  Arts,  and  attracting  much  atten- 
tion. This  was  followed  by  “ Hypatia,”  “ Lucille,”  and  other  ideal 
and  portrait  busts.  He  went  again  to  Paris  in  1873,  remaining  a year 
at  work  in  that  city,  and  modeling  there  “ La  Premiere  Pose,”  which 
was  at  the  Centennial  Exhibition  of  1876,  receiving  a medal.  His 
latest  work  is  a statuette  of  “ Lot’s  Wife.”  On  the  strength  of  the 
“ Hester  and  Pearl  ” he  was  elected  a member  of  the  Philadelphia 
Academy. 

“ ‘Lot's  Wife’ is  a very  singular  creation,  which  could  only  have  been  imagined  by 
the  artist  in  a grotesque  mood.  It  cannot  he  called  beautiful,  but  it  is  most  original  in 
conception  and  execution  : and  in  spite  of  its  grotesqueness,  it  is  full  of  power  and  im- 
pressiveness  Roberts’  busts  are  charming,  those  representing  childhood  and 

womanhood  especially.  His  ideal  busts  are  the  inspirations  of  a most  rare  fancy,  while 
his  portraits  liave  that  inestimable  quality  in  all  portraits,  of  showing  their  subjects  at 
their  best,  while  losing  none  of  their  resemblance.”  — William  J.  Clarke,  Jr.,  Great. 
American  Scviptors. 

“ Roberts  is  one  of  the  most  careful  and  conscientious  of  young  American  sculptors, 
and  one  of  the  best  trained.  All  his  works  sliow  very  careful  study  and  real  knowledge, 
gained  by  iiatient  endeavor.  His  ‘ La  Premiere  Pose  ’ was  one  of  the  three  works  of 
American  sculptors  to  which  medals  were  awarded  at  the  Centennial  Exhibition  of  187C.” 
— Art  Journal,  April,  1877. 

Robie,  Jean-Baptiste.  (Belgian.)  Born  at  Brussels,  1821.  He 
has  received  medals  at  Paris  and  The  Hague,  and  is  Chevalier  of  the 
Order  of  Leopold.  His  fine  pictures  of  flowers  and  fruits  are  well 
known  in  Europe  and  America.  At  the  Johnston  sale.  New  York, 
1876,  “The  Massacre  of  the  Innocents”  (18  by  24)  sold  for  $550. 
His  “Flowers  and  Objects  of  Art”  is  in  the  collection  of  Mr.  T.  R. 
Butler  of  New  York. 

Robinson,  John  Henry,  R.  A.  (Brit)  (1796  - 1871.)  )Vent  to 
VOL.  II.  10 


218  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


London  in  his  youth,  and  was  articled  to  James  Heath.  One  of  the 
first  of  his  engravings  which  attracted  attention  was  “ The  Wolf  and 
the  Lamb,”  after  Mulready.  Among  other  plates  are,  “ Napoleon  and 
Pius  VII.”  (after  Wilkie),  “ Little  Red  Riding-Hood  ” (after  Land- 
seer), portrait  of  Sir  Walter  Scott  (after  Lawrence),  Vandyck’s  por- 
trait of  Rubens,  Murillo’s  “ Spanish  Flower-Girl,”  Leslie’s  “ Mother 
and  Child,”  and  many  more.  He  was  elected  Associate  Engraver  of 
the  Royal  Academy  in  1856,  and  Academician  in  1867. 

Robinson,  Thomas.  {Am.')  Born  in  Nova  Scotia,  18.35.  He 
studied  in  Paris  under  Courbet,  and  received  also  instructions  from 
August  Bonheur,  although  he  was  not  a regular  pupil  of  the  latter 
artist.  He  has  lived  and  painted  in  Providence,  R.  I.,  in  Boston,  and 
in  France.  A number  of  his  works  were  sold  in  Boston  in  the  spring 
of  1878.  He  sent  to  the  Centennial  Exhibition  of  1876,  “A  Bull’s 
Head  ” (belonging  to  Dr.  Angell  of  Boston),  “ Dog’s  Head,”  “ Sheep  in 
Pasture,”  and  “A  New  England  Farmer”  (belonging  to  John  Foster 
of  Boston).  He  painted  a portrait  group  of  five  dogs  (belonging  to 
William  Sprague),  and  his  pictures  are  owned  by  Amasa  Sprague, 
Mrs.  Charles  Ames,  and  others.  His  “ Sprague’s  String  Team,”  painted 
for  Amasa  Sprague,  attracted  much  attention.  One  of  his  earlier 
works,  a fruit-piece,  is  in  the  possession  of  Thomas  J.  Flagg  of  New 
York. 

Rodakowski,  Henri.  (Ger.)  Born  at  Leopol,  1823.  Chevalier 
of  the  Legion  of  Honor.  Pupil  of  Cogniet.  Among  his  works  are 
many  portraits,  and  some  historical  subjects,  such  as  “ Sigismond  I. 
of  Poland,  conquered  by  the  Seditions  of  the  Nobles  and  the  Intrigues 
of  Queen  Bona  Sforza,  making  Proclamation,  etc.,”  “ The  Battle  of 
Choczim,”  “ Peasants  of  Gallicia  at  Church,”  etc. 

Rogers,  Randolph.  (Am.)  Born  in  the  State  of  New  York,  about 
1825.  Brought  up  to  mercantile  pursuits,  hut  turned  his  attention  to 
sculpture  at  an  early  age,  going  to  Italy  for  the  purpose  of  study,  and 
remaining  for  some  time  in  Rome.  Returning  to  America,  he  opened 
a studio  in  New  York.  Among  his  earlier  works  are,  “ Nydia,”  “ Boy 
and  Dog,”  and  statue  of  John  Adams  at  Mount  Auburn,  Mass.  In 
1858  he  designed  the  doors  of  the  Capitol  at  Washington,  representing 
the  chief  events  in  the  career  of  Columbus,  which  were  cast  in  bronze 
at  Munich.  He  finished  the  AVashington  Monument  at  Richmond, 
Va.,  which  was  left  uncompleted  by  Crawford  at  his  death,  adding  the 
statues  of  Mason,  JIarshall,  and  Nelson,  and  many  of  the  allegorical 
figures  for  which  Crawford  made  no  designs.  Since  the  Civil  War 
he  has  executed  the  ^Memorial  Monument  erected  at  Providence,  R.  L, 
in  1871,  and  that  in  Detroit,  Mich.,  unveiled  in  1873.  His  statue  of 
Lincoln,  in  Philadelphia,  was  completed  in  1871  ; that  of  Seward,  in 
New  York,  in  1876.  His  “Angel  of  the  Resurrection,”  on  the  monu- 
ment of  Colonel  Colt  in  Hartford,  Ct.,  is  one  of  the  most  satisfactory 
of  Ids  works.  Among  his  ideal  heads  those  of  “ Isaac  ” and  “ Ruth  ” 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  219 


have  been  greatly  admired.  To  the  Centennial  Exhibition  of  1876 
he  sent  “ Atala,”  “ Ruth,”  and  “ Nydia,  the  Blind  Girl  of  Pompeii  ” 
(the  last  two  belonging  to  James  Douglas).  His  colossal  figure  of  the 
“ Genius  of  Connecticut  ” was  placed  on  the  new  Capitol  at  Hartford 
in  1877.  His  studio  is  still  in  Rome  ; his  professional  commissions 
bring  him  occasionally  to  his  native  country. 

**  Rogers  was  commissioned  to  create  doors  for  the  Capitol  at  Washington.  In  the 
light  of  symbolic  portals  to  a Temple  of  Freedom,  the  idea  partakes  of  the  sublime  ; 
but  the  American  is  too  impatient  for  original  insiiiration,  and  has  no  adequate  concep- 
tion of  his  oppoitunity  for  noble  work.  Borrowing  his  general  ideas  from  Ghiberti,  he 
hurriedly  elaborates  a prosaic  historical  composition  of  the  ‘ Discovery  of  America  by 
Columbus,’  clever  and  interesting  as  illustration,  but  far  beneath  the  requirements  of 
creative  art  or  the  dignity  of  the  occasion.”  — Jarves,  Art  Idea. 

**  The  statue  representing  * Michigan  * is  a warlike  figure,  moving  forward,  with  shield 
aloft,  and  sword  drawn  back  for  the  thrust.  In  the  girdle  which  binds  the  coat  of  mail 
appears  the  Indian  tomahawk,  and  in  the  hair  the  Indian  ornaments  of  sliells  and 
feathers,  indicating  the  youth  of  the  State,  whose  lands  within  the  memory  of  living 
men  were  the  home  of  the  savage.  There  is  nothing  else,  however,  savage  in  the  repre- 
sentation, which  is  full  of  grace  and  life.” — Tuckerman’s  Boole  of  the  Artists* 

“The  Seward  statue  [Madison  Square,  New  York],  although  open  to  criticism  in  a 
few  details,  is,  as  a whole,  an  excellent  piece  of  work,  woidhy  of  its  conspicuous  position 
in  one  of  the  great  centers  of  the  metropolis.”  — Art  Journal,  September,  1877. 

Rogers,  John,  N.  A.  {Am.)  Born  at  Salem,  Mass.  As  a young 
man  he  studied  civil  engineering,  but  was  compelled  to  abandon  that 
profession  on  account  of  the  weakness  of  bis  eyes.  He  entered  a 
machine-shop  in  Manchester,  N.  H.,  where  he  remained  for  eight 
years,  modeling  in  clay  during  his  leisure  moments.  He  visited 
Europe  in  1858,  but  soon  returned  to  America,  and  in  1859  executed 
the  first  of  his  small  plaster  groups,  called  “The  Slave  Auction.” 
Quickly  following  this  were  “The  Picket-Guard,”  “Taking  the 
Oath,”  “The  Wounded  Scout,”  “One  More  Shot,”  and  other  war 
subjects,  which  met  with  a degree  of  popular  success  never  equaled 
in  its  way  in  America.  He  was  elected  a full  member  of  the  National 
Academy  in  1863.  In  1869  he  sent  to  the  National  Academy,  “ The 
Fugitive’s  Story”;  in  1870,  “The  Foundling”;  in  1874,  “Hide  and 
Seek”;  in  1877,  “The  Mock  Trial  ” and  “School  Days.”  To  the 
Paris  Exposition  of  1867  he  sent,  in  bronze,  “ One  More  Shot,” 
“ Taking  the  Oath,”  and  “ The  Wounded  Scout,”  and  twenty-nine 
groups  to  the  American  Centennial  Exhibition  of  1876,  for  which 
he  was  commended  by  the  judges  “for  excellence  in  the  fine  art  of 
sculpture.” 

“We  now  come  to  a high  order  of  ability  ; indeed,  we  may  call  it  genius,  in  its  i>e- 
culiar  province,  as  original  as  it  is  varied  and  graphic,  pure  in  .sentiment,  clever  in  exe- 
cution, and  thoroughly  American,  in  the  best  sense  of  tlie  word,  in  everything 

We  know  of  no  sculptor  like  John  Rogers  of  New  York  in  the  Old  World,  and  he 
stands  alone  in  his  chosen  field,  heretofore  in  all  ages  approjiriated  by  painting  ; a genu- 
ine production  of  onr  soil,  enlivening  tlie  fancy,  enkindling  patriotism,  and  warming 
the  affections  by  liis  lovely,  well-balanced  groups  in  plaster  and  bronze.  Althougli  dis-. 
criminative,  they  possess  real  elements  of  greatness.  In  their  execution  there  is  no 


220  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


littleness,  artifice,  or  affectation.  The  handling  is  masterly,  betraying  a knowledge  of 
design  and  anatomy  not  common,  and  a thoroughness  of  work  refreshing  to  note.  ” — 
Jarves,  Art  Idea. 

Rogers,  Frank  Whiting.  {Am.)  Born  at  Cambridge,  Mass.,  1854. 
He  became  a pupil  of  J.  Foxcroft  Cole  in  1873,  and,  later,  w;is  in  the 
studio  of  Thomas  Robinson  of  Boston.  His  specialty  is  animal-paint- 
ing. Among  the  better  knotvri  of  his  pictures  are,  “ The  Two  Friends  ” 
(belonging  to  William  F.  Morgan  of  New  York),  “Resignation”  and 
“ Steady  ! ” (belonging  to  Thomas  AFigglesworth  of  Boston),  “ Mis- 
chief” (belonging  to  S.  L.  Brackett,  Boston),  and  “Loo,”  a portrait 
of  a dog,  in  possession  of  Charles  Turner  of  St.  Louis.  He  exhibits 
in  Boston  and  New  York. 

“ Mr.  Rogers  has  had  from  the  first  a good  measure  of  success  with  his  paintings  of 
dogs.  He  seems  to  have  talent  in  plenty  for  tliis  work,  and  to  make  the  best  use  of  it. 
His  painting  of  a setter  which  was  hung  at  the  last  Art  Club  Exhibition  wa.s  much  ad- 
mired and  judiciously  praised,  for  it  appeared  to  be  somewhat  of  a snri>rise  to  the 

public  from  so  young  an  artist Tliere  are  not  many  dog-painters  in  this  country, 

and  there  are  none  known  to  us  in  Boston,  who  devote  themselves  as  Mr.  Rogers  does 
to  this  subject.  He  attempts  a great  deal,  and  succeeds  better  than  any  one  would 
reasonably  expect  of  him.  ” — Boston  Advertiser. 

Rolfe,  H.  L.  (Brit.)  A well-known  fish-painter,  of  the  English 
school,  exhibiting  frequently  for  many  years,  in  London  and  the  Prov- 
inces, works  in  his  peculiar  Rne,  which  are  very  popular.  He  sent  to 
the  gallery  of  the  Society  of  British  Artists  in  1877,  “ On  a ATsit  to 
the  Upper  Proprietors”;  in  1878,  “The  Last  Struggle.” 

“ * Perch,  Roach,  and  Dace  ’ [by  H.  L.  Rolfe,  R.  A.,  1S73]  exhibits  really  the  perfec- 
tion of  fish-painting.  Indeed,  this  aitist  paints  river  fish  as  they  never  before  appeared 
on  canvas, — an  enviable  immortality,  which  must  certainly  reconcile  them  to  the 
hook  ! ” — Art  Journal,  June,  1S73. 

Roll,  Alfred-Philippe.  (Fr.)  Born  at  Paris.  Medals  in  1875  and 
’77.  Pupil  of  Gerome  and  Bonnat.  At  the  Salon  of  1877  he  ex- 
hibited “ The  Inundation  in  the  Suburbs  of  Toulouse  in  June,  1875 
in  1876,  “The  Huntress”  and  a portrait  ; in  1875,  “Halte-la  ! ” ; in 
1873,  “A  Bacchante  in  1872,  “ A M^ounded  Fugitive”;  in  1870, 
“ The  Environs  of  Baccarat  ” and  “ Evening.” 

“ His  inundated  ones  are  not  models.  They  do  not  pose  themselves,  nor  regard  they 
the  public.  They  live,  each  one  his  own  life,  all  brought  into  the  powerful  unity  of 
action.  The  groups  are  well  arranged,  the  faces  varied  ; all  are  understood  The  action 
is  just  ; the  nude  is  well  treated,  well  modeled  : and  the  an.atomy  observed.  That  of  the 
boy  who  holds  his  mother,  half  fallen  over,  by  the  midtUeofthe  body,  is  a bit  of  master- 
work.  The  water  is  muddy,  — it  surges.  The  viilues  are  exact,  the  color  vigorous, 
the  pei-spective  vast.  Roll,  in  fine,  copies  not  nature  photographically,  in  the  fashion 
of  the  skillful  ones  of  to-day,  corrupting  the  public,  and  corrupted  by  it.  He  interprets 
nature,  and  grandly,  because  his  art  is  grand.  The  jilace  we  gave  him  a year  ago  among 
the  debutants  he  has  kept.  It  is  the  first  ” — Mario  Froth,  Voyage  an  Pays  des  Pcintres, 
1877. 

Romanelli,  P.  (Ital.)  Professor  at  Florence.  Pupil  of  Bartolini. 
Among  his  principal  works  are,  “ Monumental  Statue  of  Count  Fos- 
.sombroni,”  “A  Boy  Bacchus  treading  the  Gmpes,”  “The  Betrayed,” 
“ AVilliam  Tell’s  Son  ” (executed  in  marble  for  Mr.  A^'anderbilt  of  New 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  221 


York),  a fine  portrait  bust  of  Bartoliiii,  “The  Genius  of  Italy,”  “The 
Nymph  of  the  Arno,”  etc.  To  the  Paris  Exposition  of  1878  he  con- 
tributed a statue  in  marble,  “ The  Eose  of  Sharon.” 

Romberg,  Arthur  Georg.  (Ger.)  Born  at  Vienna  (1819.-  1875). 
Professor  of  Painting  at  Munich.  Member  of  the  Academy  of  Berlin. 
Studied  at  the  Academy  of  Dresden  and  under  Hiibner.  Went  to 
Munich  in  1850,  where  he  soon  became  distinguished  as  a genre 
painter.  His  drawing  is  correct,  and  his  personages  all  have  marked 
characteristics.  He  usually  combines  some  mirth  with  his  represen- 
tations. Among  his  pictures  are,  “ Peasant-Women  of  Dachau  on 
Sunday,”  “ The  Bouquet,”  “ The  Walk  with  the  Hofineister,” 
“Hiding,”  and  “After  the  Masked  Ball.”  In  1860  he  went  to  Wei- 
mar, and  there  executed  his  “ History  of  Civilization  ” for  the  Maxi- 
milaneum  at  Munich.  His  designs  for  the  Schiller  and  Goethe  Galleries 
added  to  his  fame.  In  connection  with  Pauwels  he  executed  frescos 
at  the  Wartburg  in  the  part  where  Luther  had  lived.  In  1865  he 
removed  to  Munich,  where,  in  1870,  he  exhibited  “ Frederick  II.  hold- 
ing Court  in  Palermo.” 

Ronner,  Mme.  Henriette.  (Butch.')  Born  at  Amsterdam. 
Member  of  the  Academy  of  Eotterdam.  She  has  resided  more  than 
twenty  years  in  Brussels,  and  has  gained  many  medals  in  her  own 
country  and  in  others.  She  paints  principally  subjects  in  wliich 
domestic  animals  are  introduced.  At  the  Glasgow  Fine  Art  Loan 
Exhibition  in  1878  was  her  “ Boy  and  Dog,”  loaned  by  J.  Stevenson. 
“ Exterior  of  a house.  The  door  is  open,  but  guarded  by  a big,  surly 
red  and  white  dog.  A boy  in  a blue  overall,  and  with  a basket  on 
his  arm,  hesitates  to  enter  from  fear  of  the  dog.” 

Ronot,  Charles.  (Fr.)  Born  at  Belan-sur-Ource.  Pupil  of  A. 
Glaize.  Medals  in  1876  and ’78,  when  he  exhibited  “ The  Charities 
of  St.  Elizabeth  of  Hungary  ” ; in  1877,  “ The  Anger  of  the  Pharisees  ”; 
in  1876,  “The  Workmen  of  the  Last  Hour.” 

Roqueplan,  Joseph-Etienne-Camille.  (Fr.)  Born  at  Malemort 
(1802-1855).  Ofticer  of  the  Legion  of  Honor.  Puinl  of  Gros  and 
of  Abel  de  Pujol.  This  artist  belonged  to  the  romantic  school.  His 
pictures  are  landscapes  and  genre  subjects.  He  also  painted  battle- 
pieces  for  the  Gallery  at  Versailles,  and  decorated  several  ceilings  for 
the  palace  of  the  Lu.xembourg. 

Rosales,  Edouard.  (Span.)  Died  at  Rome,  1873.  Chevalier  of 
the  Legion  of  Honor.  Corresponding  Member  of  the  Institute.  Di- 
rector of  the  Spanish  Academie  des  Beaux-Arts.  The  picture  of 
“ Isabella  the  Catholic  dictating  her  Will  ” was  the  most  important 
Spanish  picture  at  the  Paris  Exposition  of  1867.  After  the  death  of 
Rosales,  “ The  Death  of  Lucretia,”  another  grand  work,  was  exhibited 
in  Paris.  Larousse  says  of  this  : — 

“ In  a subject  so  often  repeated,  and  which  may  be  well  made  emphatic  and  melodra- 
matic, the  Spanish  artist  has  understood  how  to  be  original  and  simple,  to  unite  the 


222  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


nobility  and  pathos  of  tragedy  with  the  gravity  of  history  ; las  figures  have  an  antique 
character  inspired  by  study  of  celebrated  masters,  and  the  costumes  are  arranged  with 
science  and  taste.  A rich  and  vigorous  color  adds  to  the  merits  of  this  work  ; the  light, 
largely  concentrated  on  one  arm  of  Lucretia,  and  on  the  face  of  the  old  Lucretius,  lias 
great  brilliancy,  and  makes  a somewhat  violent  contrast  with  the  shadows  in  the 
work.” 

Rosen,  George,  Count  von.  (Swede.)  Professor  of  the  Eoyal 
Academy  of  Stockholm.  At  Philadelphia  he  exhibited  “A  Portrait” 
and  received  a medal  To  the  Paris  Exposition  of  1878  he  contrib- 
uted “ The  Flower-Market  ” and  a portrait  of  a painter. 

Rosenthal,  Toby  E.  (Am.)  Bom  in  Hessen,  Germany,  and 
taken  to  America  as  an  infant.  He  began  the  study  of  art  in  the 
public  schools  of  San  Francisco,  taking  lessons  there  also  from  a Span- 
ish painter,  under  whom  he  made  rapid  progress.  At  the  age  of  seven- 
teen he  went  to  Munich,  and  entered  the  Royal  Academy,  remaining 
two  years  in  that  institution,  and  spending  three  years  longer  in  Mu- 
nich as  a private  pupil  of  Professor  Raupp.  Again  entering  the  Acad- 
emy, he  remained  about  seven  years  under  Piloty,  painting,  during  that 
time,  “ Morning  Prayers  in  the  Family  of  Bach  ” (purchased  by  the  city 
of  Leipsic,  and  now  in  the  museum  there).  Among  his  works  may  he 
mentioned,  “ Elaine  ” (at  the  Philadelphia  Exhibition  in  1876),  “ Love’s 
Last  Offering,”  and  a study  of  the  head  of  Mrs.  Greatorex,  painted 
in  Munich  in  1871,  and  exhibited  at  the  Hational  Academy  in  New 
York  in  1875.  Very  few  of  his  works  have  been  exhibited  in  America. 

“Toby  Rosenthal’s  ‘Elaine  ’ in  illustration  of  Tennyson’s  lines,  ‘And  the  dead,  steered 
by  the  dumb,  went  upward  with  the  flood,’  attracted  great  attention  in  Boston  when  it 
was  recently  exhibited  there.  The  critics  all  concede  that  the  picture  is  well  painted, 
and  embodies  great  dramatic  force,  but  the  wisdom  of  choosing  so  sad  a subject  Ls 
doubtful.”  — Art  Journal,  .\pril,  1875. 

“ Mr.  Rosenthal’s  picture  of  the  ‘ Young  Monk  ’ in  the  refectory  of  a convent  was  one 
of  the  most  poetic  in  sentiment  to  be  found  in  tlie  whole  E.xhibition.  It  is  pure  and  deli- 
cate in  feeling,  and  skillfully  painted.  ” — Prof.  Weir’s  Official  Report  of  the  American 
Centennial  Exhibition  o/lS76. 

Rosier,  Amed^e.  (Fr.)  Bom  at  Meaux.  Medal  at  Paris  in 

1876,  and  at  Philadelphia  the  same  year.  Pupil  of  Cogniet  and  Du- 
rand-Brager.  At  Philadelphia  he  exhibited  “ Evening  in  the  Harbor 
of  Venice”  and  “ Morning  on  the  Lagoons  of  Venice”  ; at  Paris,  in 

1877,  “ On  the  Lagoons  of  Venice,  — Setting  Sun  ” and  “ The  Canal 
of  St.  Mark’s,  Venice.”  “ A Landscape  ” by  this  artist  is  in  the  collec- 
tion of  Mrs.  H.  E.  Maynard  of  Boston.  To  the  Salon  of  1878  he  sent 
two  Venetian  views. 

Ross,  Sir  William,  R.  A.  (Brit.)  (1794  - 1860.)  Displayed  re- 
markable talents  as  a child,  painting  portraits  before  he  reached  his 
teens,  and  winning  many  valuable  medals  and  prizes  for  his  work  in 
London  and  the  Provinces,  while  still  a lad.  He  entered  the  Royal 
Academy  in  1805,  when  only  ten  years  of  age,  exhibiting  regularly  at  its 
gallery  after  that  period  for  many  years.  He  was  elected  an  Associate 
of  the  Royal  Academy  in  1838,  and  Academician  in  1839.  He  executed 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  223 


several  important  figure-pieces  of  a scriptural  and  historical  charac- 
ter, but  his  specialty  was  portraiture  in  miniature,  in  which  branch  of 
art  he  was  wonderi'ully  successful,  no  artist  of  the  English  school  of 
any  century  ranking  higher.  He  numbered  among  his  sitters  the 
Queen  and  Prince  Consort  of  England,  with  many  members  of  Eng- 
lish royal  and  aristocratic  families,  Louis  Philippe,  Louis.  Napoleon, 
Leopold  of  Belgium  and  his  family,  etc.  He  was  knighted  by  Queen 
Victoria  in  1839. 

Ross,  Robert  Thorburn.  {Brit.)  Born  in  Edinburgh,  1816. 
Student  of  the  Trustees  Academy  for  three  years,  when  he  opened  a 
studio  in  Glasgow,  painting  portraits  for  some  time.  In  1842  he  went 
to  Bewick,  remaining  for  ten  years,  and  for  the  first  time  turning  his 
attention  to  ideal  subjects,  contributing  to  the  Eoyal  Scottish  Acad- 
emy, in  1845,  “ The  Spinning-Wheel.”  In  1852,  when  he  was  elected 
an  Associate  of  that  Academy,  he  removed  to  Edinburgh.  He  was 
made  an  Academician  in  1869.  Among  his  works,  many  of  which 
have  been  engraved,  are,  “ The  Dead  Eobin,”  “ The  Mote  in  the  Eye,” 
“Hide  and  Seek,”  “ The  Thorn  in  the  Foot,”  “ The  Dancing-Lesson,” 
“ The  Broken  Pitcher,”  “ Leaving  Home,”  “ Highland  Pets,”  “ Asleep,” 
and  “ The  Highland  Shepherd’s  Fireside.” 

“ This  artist  [Ross]  has  evidently  studied  Scottish  life  in  the  cottage,  on  the  sea-coast, 
and  by  the  river-side.  His  pictures  are  all  of  this  class  of  subject,  which  he  renders 
with  fidelity,  and  under  most  attractive  aspects.  He  is  an  excellent  colorist,  and  shows 
true  feeling  for  the  picturesque,  both  in  his  figures  and  their  surroundings,  whether  in 
or  out  of  doors.”  — Art  Journal,  1871. 

Ross,  Alfred.  (FV.)  Born  at  Tillieres-sur-Arve.  Pupil  of  Jouf- 
froy.  Exhibited  at  Philadelphia  a statue  (in  bronze)  of  “ A Bohemian 
at  the  Spring,”  and  received  a medal. 

Rosseels,  Jacques.  {Belgian.)  Of  Antwerp.  Medal  at  Philadel- 
phia, where  he  exhibited  “ A Mill  on  the  Scheldt.” 

Rossetti,  Dante  Gabriel.  {Brit.)  Born  in  1828.  Educated  at 
King’s  College,  Ijondon,  contributing  illustrations  as  a young  man  for 
a fine  edition  of  Tennyson’s  poems.  His  “ Girlhood  of  the  ViTgin,” 
exhibited  in  London  in  1849,  first  attracted  attention  to  him  as  an 
artist  in  colors  ; it  appeared  simultaneously  with  Millais’  “ Isabella  ” 
and  Holman  Hunt's  “ Eienzi,”  and  introduced  with  them  what  is 
known  as  the  pre-Eaphaelite  school  to  England.  To  the  Liverpool 
Academy,  in  1856,  he  sent  three  pictures  in  water-color,  “ The  Wed- 
ding of  St.  George,”  “ Dante’s  Dream  on  the  Death  of  Beatrice,”  and 
“A  Christmas  Carol.”  To  the  Eoyal  Scottish  Academy,  in  1860,  he 
contributed  “ Fair  Eosamond.”  Of  late  years  his  pictures  have  not 
been  shown  to  the  public.  He  is  better  known  as  a writer  than  as  an 
artist.  His  “ Early  Italian  Poets,”  translations  from  Dante  and  others, 
was  published  in  London  in  1861  ; a revised  edition,  called  “ Dante 
and  his  Circle,”  appearing  in  1874.  He  also  gave  to  the  world  a vol- 
ume of  original  “ Poems”  in  1870. 


224  ARTISTS  OF  THE  NIHETEENTH  CENTURY. 


“As  a figure-painter  his  drawings,  such  as  I have  seen,  are  far  above  the  strictly  real- 
istic work  produced  by  acolytes  of  his  order  ....  Rossetti,  a man  of  genius,  has  lighted 
his  canvas  and  his  pages  with  a quality  that  is  ennobling.”  — Stedmas  s Victorian 
Poets. 

“ D.  G.  Rossetti  was  the  founder  and  for  some  years  the  vital  force  of  the  pre-Raphael- 
ite  school.  He  was  the  first  assertor  in  painting,  as  I believe  I was  myself  in  art  liter- 
.ature  (Goldsmitli  and  Moliere  having  given  the  first  general  statements  of  it),  of  the  great 
distinctive  principle  of  that  school  tliat  tilings  should  be  painted  as  tliey  probably  did 
look  and  liappen,  and  not  as  by  rules  of  art  developed  under  Raphael,  Correggio,  and  Mi- 
chael Angelo  they  might  be  supposed  gracefully,  deliciously,  or  sublimely  to  have  hap- 
pened.” — Ruskin’s  Notes  of  the  Academy,  1875. 

“ There  are  few  more  intense  and  perfect  poems  in  the  English  tongue  than  the  ‘ Blessed 
Damozel,’  by  Dante  Gabriel  Rossetti,  and  tliere  must  be  thousands  of  persons  who  feel 
sometliing  more  than  mere  curiosity  to  see  the  picture,  founded  on  the  poem  and  bear- 
ing its  name,  painted  by  the  poet  himself  for  Mr.  William  Graham.  An  opportunity  to 
do  so  is  not,  however,  likely  to  occur,  at  least  for  some  years  ; and  all  but  a favored  few 
must  be  content  to  know  it  by  inadequate  verbal  description.  The  damozel  is  leaning 
‘ from  the  gold  bar  of  lieaven,’  surrounded  by  groups  of  happy  reunited  lovers.  Below  is  a 
predella  just  added  by  the  artist ; the  bereaved  lover  stands  amid  the  fall  of  leaves  with 
his  eyes  fixed  on  heaven.  The  cerulean,  rose,  and  delicate  green  tints  of  the  upper  can- 
vas are  brought  out  into  beautiful  contrast  by  the  autumnal  tints  and  the  black  grays 
of  the  predella.  Mr.  Rossetti  has  more  than  one  new  work  in  hand.”  — Magazine  of  Art, 
June,  1878. 

Rossiter,  Thomas  P.,  N.  A.  (Am.)  Born  at  New  Haven,  Ct. 
(1818-  1871).  He  studied  in  his  native  cit)',  and  in  1838  began  the 
practice  of  his  profession  there  as  a portrait-painter.  In  1840  he  vis- 
ited Europe,  stud5’ing  in  London  for  six  months,  and  in  Paris  tor  a 
year.  In  1841  he  settled  in  Rome,  remaining  five  years,  spending  his 
summers  in  sketching-tours  in  Germany,  Switzerland,  and  Italy.  In 
1846  he  opened  a studio  in  New  York,  painting  an  occasional  portrait, 
hut  devoting  himself  chiefly  to  the  illustration  of  scriptural  and  his- 
torical subjects.  In  1853  he  returned  to  Europe,  remaining  in  Paris 
until  1856.  Spending  a few  years  in  New  York,  he  removed  in  1860 
to  Cold  Spring,  on  the  Hudson.  He  was  elected  an  Associate  of  the 
National  Academy  in  1840,  and  Academician  in  1849.  Among  his 
works,  some  of  which  have  been  engraved,  are,  “ The  Last  Hours  of 
Tasso,”  “ Puritans  reading  the  Bible,”  “ Miriam,”  “ The  Ascension,” 
“ Return  of  the  Dove  to  the  Ark,”  “ The  Wise  and  Foolish  Virgins,” 
“Noah,”  “Italy  in  the  Olden  Times,”  “Home  of  Washington,” 
“ Washington  in  his  Library,”  “ Washington’s  First  Cabinet,”  “ Prince 
of  Wales  at  the  Tomb  of  Washington,”  “ Palmy  Days  at  Mount  Ver- 
non,” “ Representative  Merchants,”  etc. 

Rossiter,  Charles.  {Brit.)  Bom  in  1827.  A pupil  of  Mr.  Leigh’s 
school,  in  Newman  street,  London,  he  did  not  turn  his  attention  to 
art  as  a profession  until  about  1850,  making  his  specialty  small  genre 
pictures.  For  a quarter  of  a century  he  has  exhibited  at  the  Royal 
Academy  and  the  Gallery  of  the  Society  of  British  Artists.  Among 
his  earlier  works,  which  were  very  popular  with  all  classes  of  people, 
were,  “ The  Song  of  the  Shirt,”  “ The  Protector,”  “ Puritan  Purifiers,” 
“ The  Return  of  ORvia,”  etc.  He  sent  to  the  Royal  Academy,  in 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  225 


1866,  “ The  First  Lesson  ” ; in  1867,  “ The  Little  Singer  ” ; in  1868, 
“ II  Penseroso  ” ; in  1870,  “ A Gleam  of  Hope  ” ; in  1871,  “ Memories 
of  the  Past  ” ; in  1872,  “ The  Necklace  ” ; in  1875,  “ Rival  Anglers”  ; 
and  ill  1877,  “ Rough  Weather.” 

Rossiter,  Mrs.  Charles,  wife  of  the  foregoing,  exhibited  for  some 
years  attractive  pictures  of  birds  at  the  Royal  Academy,  but  her  name 
has  not  been  seen  in  its  catalogues  since  1 873. 

Roth,  Christian.  (Ger.)  Professor  at  Munich.  This  sculptor  has 
studied  anatomy  with  great  thoroughness,  and  he  has  done  much  to 
enable  the  students  of  sculpture  about  him  to  pursue  this  necessary 
branch.  Among  his  works  are  a fountain  at  Munich  representing  a 
“ Faun  with  the  Mask  of  Jupiter.”  His  “ Kanipf  um  das  Friihstuck” 
(now  belonging  to  Duke  Charles  Theodore  of  Bavaria)  gained  a prize. 
It  represents  a boy  and  goose  struggling  over  a piece  of  bread.  Roth’s 
best  works  are  those  above  the  genre  subjects.  His  perfect  knowledge 
of  the  human  form  should  be  employed  in  monumental  sculpture. 
His  “ Wacht  am  Rhein  ” is  a work  of  strength,  but  not  of  high  art. 
His  colossal  bust  of  the  late  Prince  Charles  of  Bavaria,  for  the  park 
of  the  castle  of  Tergernsee,  is  without  doubt  his  master- work  in  por- 
traiture, and  perhaps  the  verdict  of  years  will  make  his  portrait  busts 
his  chefs-d'muvre. 

Rothermel,  Peter  F.  (,4m.)  Born  in  the  State  of  Pennsylvania 
in  1817.  He  was  brought  up  as  a surveyor,  and  did  not  devote  him- 
self to  the  study  of  art  until  he  was  twenty-one  years  of  age.  In  1840 
he  began  the  active  practice  of  his  profession  by  the  painting  of  por- 
traits. In  1856  he  went  to  Europe,  spending  some  time  in  the  art 
centers  of  the  Continent,  painting  his  first  historical  picture,  and 
later  making  that  class  of  subjects  a specialty.  Among  the  better 
known  of  his  works  are  “ St.  Agnes  ” (painted  in  1858,  and  now  in 
Russia),  “The  Foscari,”  “Patrick  Henry  before  the  Virginia  House 
of  Burgesses,”  “Cromwell  breaking  up  the  Service  in  an  English 
Church,”  “ Columbus  before  Isabella,”  “ De  Soto  discovering  the 
Mississippi,”  “ St.  Paul  on  Mars  Hill,”  “ The  Battle  of  Gettysburg  ” 
(in  the  Capitol  at  Harrisburg,  Pa.),  “Christian  Martyrs  in  theColiseum,” 
and  others,  many  of  which  have  been  engraved.  To  the  Centennial 
Exhibition  at  Philadelphia,  in  1876,  he  sent  “The  Battle  of  Gettys- 
burg,” “ Amy  Robsart  interceding  for  Leicester,”  “ The  Trial  of  Sir 
Henry  Vane  ” (belonging  to  J.  L.  Claghorn),  “ Macbeth  meditating  tlie 
Murder  of  Duncan  ” (belonging  to  Thomas  Dolan),  “ Hypatia  stripped 
and  torn  to  Pieces  by  the  Christian  Mob  of  Alexandria,”  “The 
Landsknecht”  (belonging  to  Matthew  Baird),  and  “The  Christian 
Martyrs.”  He  was  “ commended  for  excellence  in  historical  painting.” 

“ With  unequal  power,  but  frequent  fidelity  to  the  conventional  requirements  of  his 
historical  painting,  Rothermel’s  career,  in  view  of  the  department  he  illustrates,  has 
been  remarkably  prosperous.  The  pictures  he  has  exhibited  abroad  have  gained  him 
houoralde  mention,  though  confessedly  unfinished.”  — Tuckeem ah’s  Book  of  the  Artists. 

10*  o 


226  ARTISTS  OF  THE  NINETEENTH  CENTURY 


Rousseau,  Philippe.  {Fr.)  Born  at  Paris  about  1808.  Officer 
of  the  Legion  of  Honor.  Pupil  of  Gros  and  Victor  Bertin.  At  first' 
Rousseau  painted  landscapes,  and  made  his  debut  in  1831.  Since  his 
earlier  works  he  has  painted  numerous  subjects  which  may  be  termed 
animal  genre.  They  are  very  much  admired.  “ The  Importunate  ” 
(1850),  “Storks  taking  a Siesta,”  and  “A  Kid  feeding  on  Flowers” 
(1855)  are  in  the  Luxembourg.  In  1866,  “The  Monkey  Photograph ” 
and  “ Flowers,”  remarkable  works,  were  purchased  by  the  Princess 
Mathilde.  In  1877  he  exhibited  “ The  Breakfast  ” and  “ 0 ma  tendre 
musette!”;  in  1876,  “Oysters”  and  “Poppies”;  in  1875,  “The 
Wolf  and  the  Lamb”  and  “Cheeses”;  in  1874,  “La  Fete-Dieu”  and 
“The  Salad”;  in  1872,  “The  Sweetmeats”  and  “Springtime”;  in 
1870,  “ The  Flowery  Fomitain”  and  “ The  First  Plunrs  and  the  Last 
Cherries,”  etc. 

“M.  Philipjie  Rousseau  is  not  only  a man  of  genius,  he  is  also,  unfortunately,  a 
seeker  of  genius.  Curiosity  and  surprise  make  a portion  of  the  interest  which  his 
works  inspire.  One  sometimes  studies  them  as  the  subscribers  to  ‘ L 'Illustration  ’ 
meditate  upon  the  rebus.  Animals  are  wise  little  jiersonages  to  Rousseau  ; each  of  his 

frames  resembles  an  outlandish  theater  in  which  the  beasts  play  a comedy I 

recognize  with  the  public  the  originality  and  the  attraction  of  his  works,  but  I am  not 
able  to  approve  of  all  the  talent  which  he  expends  in  order  to  lower  painting  to  the  level 
of  the  vignette.”  — Edmond  About,  Nos  Artistes  an  Salon  de  1857. 

Rousseau,  Thdodore.  (Fr.)  Born  at  Paris  (1812  - 1867). 
Chevalier  of  the  Legion  of  Honor.  Pupil  of  Guillon-Lethiere.  A 
landscape-painter.  Made  his  debut  in  1834.  In  1867  he  exhibited 
“ A View  of  Mont  Blanc  ” and  “ The  Interior  of  a Forest  ” ; in  1866, 
“ Sunset,  Forest  of  Fontainebleau,”  and  “ Boundaries  of  the  Forest  of 
Fontainebleau  at  Barbison”;  in  1864,  “A  Village, — Cottages  under 
the  Trees”  ; in  1863,  “A  Pool  beneath  some  Oaks”  ; etc.  At  the 
Hotel  Pereire  in  Paris  there  is  an  extpiisite  landscape  by  Theodore 
Rousseau  which  was  purchased  at  the  Demidoff  sale  for  3,250  francs. 
At  the  Strousberg  sale,  Paris,  1874,  “A  Fisherman”  sold  for  .£832. 
At  the  Laurent- Richard  sale,  Paris,  1873,  “ Watercourse  at  Sologne  ” 
sold  for  £ 1,600  ; “ Hoar-Frost,”  £ 2,404. 

This  artist,  in  truth,  has  varied  prodigiously,  and  his  work  sometimes  shows  us 
vivid  impressions  expressed  with  rare  happiness,  but  tlie  execution  will  not  bear  the  at- 
tentive examination  of  amateurs  who  seek  to  analyze  it  and  judge  it  in  detail ; at  other 
times  he  executes  pictures  treated  with  scrupulous  care,  hut  which  have  not  as  a whole 
the  charm  and  the  unaffected  simplicity  which  artists  admire  in  the  first”  — Renk  Me- 
nard, Gazette  des  Beaxix-Arts,  March,  1873. 

” Tiieodore  Rousseau  has  been  for  twenty-five  years  the  first  apostle  of  truth  in  land- 
scape. He  made  a breach  in  the  wall  of  the  historic  school,  which  had  lost  the  habit  of 
regarding  nature,  and  servilely  copied  the  bad  copyist-s  of  Poussin.  This  audacious  inno- 
vator opened  an  enormous  door  by  which  many  others  have  followed  him.  He  emanci- 
pated the  landscape-painters  as  Moses  formerly  liberated  the  Hebrew.s,  ‘ in  exitu  Israel 
de.£gypto.*  He  led  them  into  a land  of  promise,  where  the  trees  had  leaves,  where 
the  rivei's  were  liquid,  where  the  men  and  the  animals  were  not  of  wood.  On  the  return 
of  this  truant  school  the  young  landscapists  forced  the  entrance  of  the  Salon,  and  it  was 
still  Theodore  Rousseau  who  broke  down  the  door.  In  that  time  Rousseau  occupied 
the  first  rank  in  landscape,  above  all  as  a colorist ; but  neither  the  Institute  nor  the 


ABTISTS  OF  THE  NINETEENTH  CENTURY.  227 


puWie  wished  to  confess  it.  His  incontestalde  talent  was  contested  by  all  the  world. 
It  is  only  to-day  that  his  reputation  is  made.  He  can  become  remiss  with  impunity 
without  its  being  seen,  etc.”  — Edmond  About,  Nos  Artistes  au  Salon  de  1S57. 

Rowbotham,  Thomas  L.  (Brit.)  (1823-1875.)  Active,  mem- 
ber of  the  Institute  of  Painters  in  Water-Colors,  painting  landscapes 
with  skill  and  taste.  His  works  were  pleasing  and  popular  ; among 
them  may  be  mentioned,  “ The  Sacred  City  of  Benares  on  the  Gan- 
ges,” “MiU  in  Surrey,”  “On  the  Thames,  — Evening,”  “A  Winter 
Sunset,”  “The  Imperieuse,  — Breaking  up  at  Woolwich  in  1867,” 
“ Castellamare,  Bay  of  Naples,”  and  “ Sisteron,  South  of  France.” 

Rowse,  Samuel  W.  (Am.)  A native  of  the  State  of  Maine. 
Recently  this  artist  has  spent  some  time  in  New  York,  but  the 
greater  part  of  his  professional  life  has  been  passed  in  Boston.  He 
devotes  himself  particularly  to  drawing  in  black  and  white.  His 
work  is  seldom  publicly  exhibited,  although  he  has  been  for  some 
years  one  of  the  most  successful  of  American  artists.  Photographs 
of  his  lighter  works,  chiefly  ideal  pictures  of  children  in  crayon, 
have  been  very  common  throughout  the  United  States.  While 
in  the  sun  copies  justice  has  not  been  done  to  the  originals,  each 
one,  no  matter  how  slight  and  sketchy,  has  something  of  the  peculiar 
charm  of  manner  which  in  his  drawing  of  children  is  irresistible.  One 
well-known  connoisseur  writes  : — 

“The  ai^parent  simplicity  and  real  subtlety  of  Rowse’s  portraits  of  children  is  beyond 
analysis.  They  constantly  remind  one  of  Sir  Joshua  ; but  Sir  Joshua  in  only  a few  in- 
stances attained  such  completeness,  such  unity  in  purpose  and  in  execution,  as  is  shown 
by  Rowse.  Herein  his  work  possesses  a quality  seldom  reached  in  modern  art,  — that 
of  harmony.  'Whatever  he  undertakes,  the  result  is  a picture.  It  is  not  an  effort,  a frag- 
ment, not  the  exhibition  of  some  school  or  method  ; it  is  a whole,  and  it  is  beautiful.’* 

While  Mr.  Rowse  has  had  few  pupils,  m the  ordinary  sense  of  the 
term,  he  has  had  many  foRowers,  disciples,  and  imitators,  and  has 
had  a decided  and  beneficial  influence  upon  his  peculiar  branch  of 
art.  Among  the  many  illustrious  men  whose  portraits  he  has  drawn 
in  crayon,  have  been  James  Russell  Lowell,  R.  W.  Emerson  (belong- 
ing to  Charles  E.  Norton),  and  Hawthorne  (the  property  of  Janies 
T.  Fields).  Recently  he  has  given  more  attention  to  painting  in  oil, 
and  devoted  the  year  1877  (in  New  York)  to  the  producing  of  por- 
traits in  that  medium.  His  “ Head  of  a Child  ” (belonging  to  Morris 
K.  Jessup)  was  at  the  Loan  Exhibition  of  the  Society  of  Decorative 
Art  at  the  National  Academy  in  1877. 

‘‘  Rowse  is  one  of  the  most  delicate  and  true  crayon  limnera  in  this  country  ; some  of 
his  heads  are  unsurpassed  for  fine  feeling  and  exquisite  drawing.”  — Tuckerman’s  Book 
of  the  Artists. 

“ ‘ Even  in  England,’  writes  Mrs.  Elizabeth  Murray  to  a London  art  journal,  ‘ there  are 
none  to  compare  with  Rowse  in  crayon  portraits,  for  refinement  and  beauty  in  idealiz- 
ing a portrait,  while  the  likeness  is  wonderful  in  its  identity.’  ” — Boston  Advertiser,  May 
23,  1868. 

Rubio,  liOuis.  (Ital.)  Bom  at  Rome  in  1797.  -Ifter  studying 
in  Italy  he  passed  some  time  at  Paris  under  Cogniet.  He  finally  set- 


228  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


tied  in  Geneva.  He  gained  several  medals  at  Paris  and  Rome,  and 
was  made  member  of  the  Academy  of  St.  Luke.  His  works  are  seen 
occasionally  in  public  galleries. 

Rudder,  Louis-Henri  de.  (Fr)  Bom  at  Paris,  1807.  Chevalier 
of  the  Legion  of  Honor.  Pupil  of  Gros  and  Charlet.  Many  of  his  ' 
pictures  are  of  historical  and  religious  subjects.  At  the  Luxembourg  i 
is  “ Nicolas  Flamel,  an  Alchemist  of  the  Fifteenth  Century.”  Rud- 
der painted  considerably  in  water-colors.  At  the  Salon  of  1878  he 
exhibited  “Ecce  Homo”  and  a “View  on  the  Banks  of  the  Douet  at  1 
Benzeval  (Calvados).”  i 

Ruskin,  John.  (Brit.)  Born  in  London,  1819.  He  graduated  at 
the  University  of  Oxford,  and  gained  the  Newdigate  Prize  for  Poetry  ! 
in  1839.  Later,  he  studied  art  under  Fielding  and  J.  D.  Harding,  I 
attaining  no  ordinary  proficiency  as  a draughtsman,  but  never  becoming  ; 
a professional  artist.  Ruskin  is  known,  however,  throughout  the 
English-speaking  world  as  an  art  critic,  and  a brilliant  and  prolific,  as 
well  as  original,  writer  upon  art  subjects.  Not  always  temperate  in  i 
his  strictures  upon  existing  art  and  contemporary  artists,  he  has  fre- 
quently been  the  subject  of  sev'ere  criticism  from  rival  critics  ; but, 
unquestionably,  no  work  of  its  kind  has  been  more  widely  read  than  ' 
Ruskin’s  “ Modern  Painters,”  and  to  no  single  work  and  to  no  single 
author  does  the  world  of  art  owe  so  much.  An  ardent  and  enthu- 
siastic admirer  of  Turner,  Ruskin’s  first  literary  effort  was  a small 
pamphlet,  the  avowed  object  of  which  was  the  defence  of  that  artist. 

It  was  subsequently  enlarged,  and  was  published  in  1843  as  the  first 
volume  of  “ Modern  Painters:  by  a Graduate  of  Oxford.”  It  attracted 
much  attention  in  England.  The  second  volume,  to  which  the  au- 
thor’s name  was  not  attached,  appeared  in  1846;  the  third  volume 
was  not  published  until  some  ten  years  later;  the  fourth,  and  perhaps 
the  ablest,  followed  more  quickly;  and  the  fifth  and  last  was  given  to 
the  public  in  1860.  During  the  irregular  and  desultory  appearance 
of  this  work  Mr.  Ruskin’s  pen  was  by  no  means  idle.  He  published 
“ The  Seven  Lamps  of  Architecture,”  in  1849  ; the  first  volume  of 
“The  Stones  of  Venice,”  in  1851;  “Lectures  on  Architecture  and 
Painting,”  in  1854;  “ Giotto  and  his  Works  in  Padua,”  inl855;  “Notes 
on  the  Turner  Collection,”  in  1859;  etc.  Besides  these,  he  is  the  au- 
thor of  many  other  volumes,  and  has  written  interesting  and  valuable 
“ Notes  on  the  Pictures  of  the  Royal  Academy,”  for  several  seasons 
(the  last  in  1875),  and  has  contributed  articles  to  the  London 
Times,  Art  Journal,  Quarterly  Review,  Cornhill  Magazine,  and 
other  periodicals.  In  1867  Mr.  Ruskin  was  appointed  Rede  Lec- 
turer at  Cambridge,  and  in  1869,  Slade  Professor  of  Fine  Arts  at 
O.xford.  In  1871  he  endowed  the  Taylor  Gallery  at  Oxford  with 
£ 5,000  for  the  maintenance  of  a Master  of  Drawing,  and  he  has 
generally  spent  the  greater  part  of  his  private  fortune  in  other 
schemes  for  art  education  and  the  public  good.  !Mr.  Ruskin  has  fur- 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  229 


nished  illustrations  for  “ The  Stones  of  Venice,”  and  for  the  later  vol- 
umes of  “ Modern  Painters His  original  drawings  are  rarely  seen 
hy  the  public.  In  1878,  however,  was  exhibited  in  London  one  hun- 
dred and  twenty-six  drawings  by  Turner,  together  with  nearly  eighty 
sketches,  drawings,  and  photographs  executed  or  collected  by  Euskin. 
Of  these  P.  K.  Conder  wrote,  in  the  October  number  of  the  Art 
Journal  of  that  year,  as  follows  ; — 

“ The  collection  under  review  gives  a rare  proof  of  the  possession  by  Buskin  of  an 
indispensable  qualification  for  the  thorough  judge  of  art,  namely,  the  hand  to  create,  as 
well  as  the  eye  to  see.  It  may  not  be  true  that  none  but  a painter  can  truly  be  a judge 
of  painting.  It  may  even  be  urged  that  a painter  is  not  the  most  reliable  jiidge  or  critic 
of  the  works  of  his  brothel’s  of  the  pencil.  But  we  think  that  it  must  be  admitted  that 
none  but  an  artist  m some  field  or  branch  of  art  can  be  a thorough  judge  of  art  in 
any  of  its  branches.  The  education  of  the  hand  is  needed  in  order  to  give  a reflected 
power  and  accuracy  to  the  education  of  the  eye.  There  is  an  unfinished  pencil  sketch 
of  an  ‘Outline  from  the  Fresco  of  the  Sacrifice  of  Job  in  tlie  Campo  Santo  of  Pisa,’ 
from  the  hand  of  Mr.  Buskin,  which  might  have  been  placed  without  discredit  in  tlie 
exquisite  coilection  of  drawings  by  old  masters  exhibited  last  autumn  in  the  Grosvenor 
Gallery.  In  refined  delicacy  and  graceful  truth  of  touch,  combined  with  depth  and 
tender  sense  of  feeling,  it  almost  leads  us  to  echo  the  half-suppressed  sigh  of  the 
draughtsman,  ‘ Had  I been  able  to  keep  myself  clear  of  literature  ! ’ Some  of  the  archi- 
tectural sketches  give  a feeling  of  Gothic  tracery  akin  to  that  which  must  have  been 
possessed  by  the  great  artists  of  our  cathedrals.” 

If  the  world  is  not  familiar  with  the  work  of  Mr.  Ruskin’s  pencil, 
the  work  of  his  pen  has  made  him  a power  wherever  art  is  known. 
Of  his  “ Stones  of  Venice,”  Charlotte  Bronte  wrote  to  Mrs.  Gaskell 
in  1851  : — 

“*The  Stones  of  Venice’  seem  nobly  laid  and  chiseled.  How  grandly  the  quarry  of 
vast  marbles  is  disclosed  I Mr.  Kuskin  seems  to  me  one  of  the  few  genuine  writers, 
as  distinguished  from  book-makers,  of  this  age.  His  earnestness  even  amuses  me  in 
some  passages,  for  I cannot  help  laughing  to  think  how  utilitarians  will  fume  and  fret 
over  his  deep,  serious  (and  as  they  will  think),  fanatical  reverence  for  art.  That  pure 
and  severe  mind  you  ascribe  to  him  speaks  in  every  line.  He  writes  like  a consecrated 
priest  of  the  Abstract  and  Ideal.” 

This  book  [ ‘ Modern  Painters']  contains  more  true  philosophy,  more  information 
of  a strictly  scientific  kind,  more  original  thought  and  exact  observation  of  nature, 
more  enlightened  and  serious  enthusiasm,  and  more  eloquent  writing  than  it  would  be 
easy  to  match,  not  merely  in  works  of  its  own  class,  but  in  those  of  any  class  whatever. 
It  gives  us  a new,  and,  we  think,  the  only  true  theory  of  beauty  and  sublimity  ; it  as- 
serts and  proves  the  existence  of  a new  element  in  landscape-painting,  placing  its 
prince  upon  his  rightful  throne  ; it  unfolds  and  illustrates,  with  singular  force,  variety, 
and  beauty,  the  laws  of  art ; it  explains  and  enforces  the  true  nature  and  specific  func- 
tions of  the  imagination  with  the  precision  and  fullness  of  one  having  authority,  — and 
all  this  is  delivered  in  language  which,  for  purity  and  strength  and  native  richness,  would 
not  have  dishonored  the  early  manhood  of  Jeremy  Tajdor,  of  Edmund  Burke,  or  of  the 
author’s  own  favorite  Richard  Hooker.”  — Dr.  John  Brown,  in  North  British  Review. 

“ There  is  one  man  among  us  who  has  done  more  to  breathe  the  breath  of  life  into  the 
literature  and  the  philosophy  of  art,  who  has  encouraged  it  ten  thousand  times  more 
effectually  than  all  our  industrious  Coles  and  anxious  Art  Unions,  and  that  is  the 
author  of  ‘ Modern  Painters.’  I do  not  know  that  there  is  anything  in  our  literature,  or 
in  any  literature,  to  compare  with  the  effect  of  this  one  man’s  writings.  He  has,  by  his 
sheer  force  of  mind  and  fervor  of  nature,  the  depth  and  exactness  of  his  knowledge,  and 


230  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


the  amazing  beauty  and  power  of  language,  raised  the  subject  of  art  from  being  subordi- 
nate and  teclinical,  to  the  same  level  with  poetry  and  philosophy.  He  has  lived  to  see 
an  entire  change  in  the  public  mind  and  eye,  and,  wliar  is  better,  in  the  public  heart, 
on  all  that  iiertains  to  the  literature  and  philosophy  of  representative  genius.  He  com- 
bines its  body  and  its  souL  Many  before  him  wrote  about  its  body,  and  some  well ; a 
few,  as  Charles  Lamb  and  our  own  ‘ Titmarsh,’  touched  its  soul ; it  was  left  to  John 
Ruskin  to  do  both.”  — Notes  on  Art  in  Horae  Subsecivee. 

“Unquestionably  one  of  the  most  remarkable  men  of  this  or  any  age  is  Mr. 
Ruskin.  He  is,  if  you  like,  not  seldom  dogmatic,  self-contradictory,  conceited,  arro- 
gant, absurd,  but  he  is  a great  and  wonderful  writer,  he  has  created  a new  literature, 
the  literature  of  art.”  — Fraser’s  Magazine. 

“ Yet  in  his  book  [ ‘ Modem  Painters  ’ ] there  was  a bold  originality,  an  uncom- 
promising independence,  quite  startling  to  the  lovers  of  the  old  beaten  track,  the 
devotees  to  precedent.  The  daring  champion  of  Turner,  not  content  with  asserting  the 
painter’s  claims  to  universal  admiration,  announced,  somewhat  authoritatively,  certain 
principles  of  art  neither  derived  from  Alison  or  the  Royal  Academy Indefati- 

gable in  the  pursuit  of  that  branch  of  art,  which  in  all  his  loving  is  the  love,  Mr. 
Ruskin  has  lately  written  a book  for  young  persons,  entitled  ‘ The  Elements  of  Drawing, 
in  Three  Letters  to  Beginners.’  He  always  writes  con  armre,  but  never  more  so  than 
in  this  valuable  little  treatise.  Mr.  Ruskin  is  not  only  a practical  artist,  but  he  has  also 
had  much  experience  in  teaching,  being  employed  at  present  as  head-teacher  of  a class 
in  drawing  in  the  Working-Men’s  College,  45  Great  Ormond  street,  London.” -intro- 
duction  to  Mrs.  Tuthill’s  Beauties  of  Ruskin,  1865. 

“A  man  has  arisen  among  them  [British  artists]  to  justify  and  elevate  their  practice 
into  theory,  namely,  John  Ruskin,  an  admirer  and  friend  of  Turner:  an  earnest,  im- 
passioned, and  original  writer,  perfectly  competent,  very  studious,  very  iiopular,  and 
possessing  a thoroughly  English  intellect.  Nothing  is  more  precious  than  personal,  in- 
dependent, and  well-ordered  impressions.  Especially  when,  like  his,  they  are  boldly 
expressed,  they  lead  us  to  reconsider  our  own.  There  is  no  one  to  whom  Ruskin’s 
works,  such  as  ‘ Modern  Painters  ’ and  'The  Stones  of  Venice,’  fail  to  suggest  subjects 
for  thought.  His  firet  principle  is  that  the  literal  truth  and  the  characteristic  detail 
must  be  loved  with  enthusiasm.”  — Taine’s  Notes  on  F.ngUind. 

Sain,  Edouard- Alexandre.  (Fr.)  Born  at  Cluny.  Medals  at 
Paris  in  1866  and  ’75,  and  at  Philadelphia  in  1876.  Pupil  of  Picot. 
At  Philadelphia  was  exhibited  an  “ Italian  Girl  ” by  this  painter 
(owned  by  Theodore  Lyman  of  Boston),  “ A Family  Scene  in  the 
Pyrenees  ” (medal),  and  “ The  Convalescent.”  At  the  Salon  of  1877 
he  exhibited  “ Andromeda”  and  a portrait  of  T.  Lambrecht.  At  the 
Luxembourg  is  his  “ E.xcavations  at  Pompeii  ” (1866). 

Saint-Gaudens,  Augustus.  (Am.)  Born  in  NewYork.  He  began 
his  professional  career  as  a cameo-cutter  in  his  native  city,  and  upon  the 
proceeds  of  the  sales  of  his  work  in  that  branch  of  art  he  went  to  Paris, 
where  he  spent  some  years  modeling  and  drawing  in  the  Academy, 
and  the  School  of  Medicine,  gaining  a medal  in  the  latter  institution. 
He  also  studied  sculpture  in  Rome.  Among  his  works  are  a statue 
of  “ Hiawatha  ” (belonging  to  E.  D.  Morgan  of  New  York),  a statue  of 
Farragut  for  the  city  of  New  York  (now  in  course  of  execution),  and 
busts  "of  President  Woolsey  of  Yale,  William  M.  Evai-ts,  etc.  He 
executed  the  bas-reliefs  in  St.  Thomas  Church,  New  York,  and  as- 
sisted La  Farge  in  the  decoration  of  Trinity  Church,  Boston.  He  is 
the  Yice-President  of  the  Society  of  American  Artists. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  231 


Saintin,  Jules  Emile.  {Ft.)  Born  at  Lenie.  Chevalier  of  the 
Legion  of  Honor.  Medals  in  1866  and  ’70.  Pupil  of  Drolling,  Picot, 
and  Leboucher.  At  the  Salon  of  1877  he  exhilnted  “ The  First  En- 
gagement ” and  “Self-Satisfied”  ; in  1876,  “The  Last  Ornament” 
and  “ The  Thoughtless  S.nibrette.”  One  of  his  pictures,  called  “ The 
Tomb  without  Flowers,”  represents  a young  woman  standing  on  the 
shore  and  gazing  out  at  the  sea.  To  the  Salon  of  1878  he  sent 
“Jeanne  ” and  “ Will  he  return  ? ” 

Saint-Jean,  Simoa.  {Fr.)  Born  at  Lyons  (1812  - 1860).  Cheva- 
lier of  the  Legion  of  Honor.  Pupil  of  Francois  Lepage.  This  painter 
was  made  famous  by  his  pictures  of  flowers,  fruits,  birds,  etc.  He 
has  sometimes  painted  in  water-colors.  At  the  Johnston  sale.  New 
York,  1876,  “ A Fruit-Piece  ” (19  by  26)  sold  for  $ 1,350 ; and  at  the 
Latham  sale.  New  York,  1878,  “Fruit  and  Flowers”  (32  by  24)  sold 
for  1,400.  At  the  Corcoran  Gallery,  Washington,  is  a picture  of 
“Fruit”  (1855). 

Salentin,  Hubert.  {Ger.)  Born  at  Ziilpich,  1822.  Medals  at 
Vienna  and  Besangon.  Commenced  his  studies  late  in  life  at  the 
Academy  of  Diisseldorf.  Genre  painter.  His  scenery  is  well  done 
and  he  has  a pleasing  manner.  At  the  National  Gallery  at  Berlin  is 
his  “Pilgrim  at  the  Chapel.”  In  Berlin,  in  1876,  he  exhibited  “ The 
Praying  Maiden,”  “ Hol’uber,”  and  “The  Return  from  the  Wood.” 
His  “Foundling”  belongs  to  Mr.  S.  D.  Warren  of  Boston. 

Salmson,  Hugo.  {Swede.)  Born  at  Stockholm.  Pupil  of  the 
Academy  of  his  native  city,  and  of  Comte  of  Paris,  where,  at  the 
Salon  of  1878,  he  received  honorable  mention.  This  artist  paints 
genre  subjects.  At  the  Paris  Salon  of  1875  he  exhibited  “The  Little 
Swedish  Girl.”  The  child,  dressed  in  the  peculiar  costume  and  cap 
of  her  country,  holds  a pigeon  in  her  arms,  while  the  flock  are  on  the 
ground  beside  her  ; the  background  is  good,  and  well  expresses  the 
character  of  Swedish  scenery.  In  the  Corcoran  Gallery  at  Washing- 
ton is  the  “ Fete  of  St.  John  in  Dalecarlia.”  This  picture  was  in 
the  Salon  of  1874,  and  selected  by  the  Ministry  of  Beaux-Arts  for 
purchase  ; but  as  their  appropriation  was  insufficient,  it  was  secured 
for  the  Corcoran  Gallery. 

Salter,  William.  {Brit.)  Born  in  Devonshire  (1804-1875). 
Went  to  London  in  1822,  .studying  under  Northcote  for  five  years.  In 
1827  he  went  to  Florence,  where  he  painted  his  “ Socrates  before  the 
Court  of  Areopagos,”  a picture  that  at  once  established  his  reputation 
ns  an  artist,  and  led  to  his  being  elected  a member  of  the  Academy  of 
Fine  Arts,  and  Professor  of  the  First  Class  of  History  in  Florence. 
He  went  to  Rome  in  1832,  studying  there  and  in  Parma,  returning  to 
London  the  next  year.  For  over  a quarter  of  a century  he  was  a 
■ prominent  member,  and  for  some  time  Vice-President,  of  the  Society 
i of  British  Artists.  Among  his  works  (many  of  which  have  been  en- 
j graved)  are,  “The  Annual  Banquet  given  by  the  Duke  of  Welling- 


232  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


ton  at  Apsley  House  to  tlie  Veterans  of  Waterloo”;  “ Jephthah’sRash 
Vow  ” ; “ Interview  of  Charles  I.  with  his  Children  in  the  Presence 
of  Cromwell”  (1863)  ; “Queen  Elizabeth  reproving  Dean  Noel  in 
the  Vestry  of  St.  Paul’s  ” (1865)  ; “ Desdeniona  and  Othello  before  the 
Senate’’  (1869)  ; “ The  Last  Sacrament”  (1874)  ; “The  Merchant  of 
Venice  ” ; etc. 

“ Salter’s  best  works  are  his  portraits, 'both  male  and  female.  These  are  nuiiierons, 
and  as  a rule  show  brilliant  and  h.arnionious  coloring.’’  — Art  Journal,  March,  1876. 

Sand,  Maurice,  real  name,  Dudevant  (Er.)  Bom  at  Paris,  abbut 
1825.  Chevalier  of  the  Legion  of  Honor.  Son  of  Mine.  Dudevant, 
(George  Sand).  This  artist  has  also  a name  as  a man  of  letters.  His 
pictures  are  of  such  subjects  as,  “ Muleteers,”  “A  Market  at  Pompeii,’^ 

“ Leander  and  Isabella,”  etc. 

Sanderson,  Charles  Wesley.  {Am.)  Bom  at  Brandon,  Vt.,  1838.  ^ 

A music-teacher  by  profession,  Mr.  Sanderson  has  from  boyhood  prac- 
ticed and  studied  drawing  and  painting.  His  first  teacher  was  James  ; 
Hope,  a Scotchman  who  settled  in  Vermont.  Later,  he  studied  oil- 
painting  under  S.  L.  Gerry.  In  Paris  he  practiced  drawing  from  life  . 
in  the  atelier  of  Julien,  where  he  took  two  prizes  and  was  admitted 
to  I’Ecole  des  Beau.v-Arts  for  excellence  in  drawing  from  the  nude.  i 
He  afterwards  gave  some  attention  to  water-color  painting  in  England, 
and  has  continued  the  practice  of  this  art.  Of  late  his  pictures  have  ' 
attracted  attention,  and  several  of  them  have  been  sold  for  good  prices.  . 
Among  them  are,  “ Lana  Cascade,  near  Lake  Dunmore,  Vermont  ” ’ 

(purchased  by  klr.  Turner  of  Brooklyn),  “The  Afterglow,  Wetter-  i 
horn  ” (Mrs.  S.  D.  AVarren  of  Boston),  “ Otter  Creek  Meadows,  Ver-  J 
mont  ” (Mr.  AVright  of  Boston),  etc.  < 

“ In  the  same  gallery  there  is  a water-color  by  Mr.  C.  W.  Sanderson,  whose  paintings  • 
should  be  more  frequently  exhibited.  The  painting  is  a study  of  the  ' Lana  Cascade,’  ' 
near  Lake  Dunmore,  Vt,  and  is  in  most  respects  an  excellent  picture.  There  is  noth- 
ing at  all  conventional  about  it,  and  one  can  easily  see  that  the  artist  has  attempted 
to  make  an  accurate,  careful,  and  truthful  interpretation  of  the  scene  before  him.  The 
handling  of  the  colons  is  a clear  indication  that  the  artist  has  skill  in  manipulating  tlie 
brush,  and  it  is  this  disclosure  of  reserved  strength  that  arouses  the  desire  to  know  the 
artist  better  through  his  paintings.  The  scene  in  itself  is  a charming  one,  very  familiar 
to  be  sure,  but  of  that  sort  which  one  is  never  tired  of  seeing.” — Boston  Daily  .idrer-  ■ 
tiser. 

Sandys,  Frederick  K.  {Brit.)  Bom  in  1832.  First  exhibited 
at  the  Royal  Academy  in  1854.  A painter  of  portraits,  in  which  he 
has  been  very  successful,  and  occasionally  an  exhibitor  of  ideal  sub- 
jects. Among  the  latter  may  be  mentioned,  “ Oriana  ” (R.  A.,  1861),  ! 
“La  Belle  Ysonde  ” (1863),  “ Morgan-le-fay  ” (1864),  “ Cassandra  ” 
(1865),  and  “ Medea  ” (1869).  This  artist  also  furnishes  wood-cuts  for 
the  publishers  of  illustrated  books  from  time  to  time.  His  “ Medea”  i 
was  at  the  Paris  E.xposition  of  1878. 

“ Mr.  Sandys,  though  we  believe  known  as  the  author  of  some  noteworthy  drawings.  , 
must  be  also  reckoned  as  a painter  among  the  men  of  promise  in  which  this  Exliibition 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  233 


[E.  A.,  1863]  has  been  unusually  fertile.  His  head  of  Mrs.  Rose  has  struck  every  one 
as  a remarkable  example  of  execution,  in  which  careful  drawing  and  characteristic  ex- 
pression are  set  off  to  the  best  advantage  by  signilicance  in  the  accessories  and  care  in 
the  finish.”  — Palgrave’s  Essays  on  Art. 

“ Neither  in  his  portraits  nor  in  his  pictures  does  Frederick  K.  Sandys  always  attain 
ideal  grace  and  harmony,  but  he  is  always  closely  in  contact  witli  his  subject.  There  is 
never  any  want  of  reality  in  the  impression  given  by  his  paintings,  rather  perhaps 
there  is  sometimes  a want  of  reserve  in  the  emphasis  and  vivid  power  displayed.  But 
when  these  powers  do  find  a complete  embodiment  in  the  treatment  of  some  wortliy 
theme,  the  effect  is  as  strong  as  anything  to  be  found  in  tlie  art  of  our  time.  The  picture 
of  ‘ Medea,’  exliihited  some  time  ago,  is  a remarkable  example  in  this  direction.  There 
the  ideal  wa.s  kept  supreme,  and  yet  the  influence  of  tlie  picture  was  intense  in  its 
leality."  — Art  Journal,  August,  1873. 

Sangster,  SamueL  {Brit.)  (1804  - 1872.)  A line-engraver  of 
considerable  reputation.  Among  the  better  known  of  his  works  are, 
“The  Gentle  Student  ” and  “ Forsaken,”  after  G.  S.  Newton  ; “ The 
Syrian  Maid,”  after  Pickersgill ; “ The  Victim,”  after  A.  L.  Egg  ; 
“ Juliet  and  the  Nurse,”  after  Briggs  ; “ The  Sepulcher,”  after  Etty  ; 
and  “A  Scene  from  Midas,”  after  Maclise.  Sangster  retired  from  the 
active  practice  of  his  profession  some  time  before  his  death. 

Sanguinetti,  Francesco.  (Ital.)  Born  at  Carrara.  Died  1870. 
Pupil  of  his  father  and  of  Rauch  of  Berlin.  After  visiting  Italy  he 
returned  to  the  studio  of  Rauch  in  1831.  He  executed  several  busts 
and  a statue  of  Hylas  in  marble.  He  then  settled  in  Munich,  where 
he  died.  He  there  executed  many  portrait  busts  of  distinguished  in- 
dividuals, and  at  the  time  of  his  death  was  engaged  upon  a statue  of 
Maximilian  II.,  intended  for  the  National  Museum.  He  carried  out 
the  models  of  Schwanthaler  for  the  figures  in  the  State  Library  and 
the  Asylum  for  the  Blind. 

“ Sanguinetti’s  private  life  seems  to  have  been  particularly  unfortunate.  First,  he 
lost,  it  has  been  stated,  by  mismanagement,  a property  he  had  bought  with  the  savings 
of  many  years  ; next,  his  daughter  was  assassinated  at  the  age  of  nineteen  by  a jealous 
lover ; then  he  was  swindled  by  a dealer  out  of  a valuable  collection  of  pictures  ; and, 
lastly,  lost  what  money  he  had  latterly  accumulated  by  the  bursting  of  a bubble  com- 
pany, and  was  even  compelled  to  sell  the  little  house  in  which  he  resided.”  — Art  Jovr~ 
nal.  May,  1870. 

Sanson,  Justin-Chrysostome.  {Fr.)  Born  at  Nemours.  Chev- 
alier of  the  Legion  of  Honor.  Pupil  of  Jouffroy.  His  “ Pieta  ” (group, 
marble,  1876)  was  bought  by  the  Ministry  of  Fine  Arts.  This  sculp- 
tor has  been  much  employed  upon  public  monuments  and  buildings, 
such  as  the  Palace  of  Justice  at  Amiens,  the  New  Opera,  etc. 

Sant,  James,  R.  A.  {Brit.)  Born  in  London,  1820.  Became  a 
pupil  of  Varley,  and  entered  the  Royal  Academy  in  1840,  shortly 
after  beginning  his  career  as  a painter  of  portraits,  in  which  art  he 
has  been  verj’  successful.  Among  his  sitters  have  been  the  Prince  Con- 
sort, and  several  members  of  the  Royal  Family,  the  Due  d’Aumale,  the 
Lord  Bishop  of  London  (1865),  and  the  Queen  and  the  children  of 
the  Prince  of  Wales  (1872),  shortly  after  which  he  was  appointed 
Principal  Painter  in  Ordinary  to  Her  Majesty.  Among  his  figure- 


234  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


pictures  may  be  mentioned,  “Samuel”  (1853);  “Children  of  the 
Wood  ” (1854);  “ Infancy  ” (1857) ; “ Little  Red  Riding-Hood  ” (1860); 
“The  First  Sense  of  Sorrow”  (when  he  was  elected  Associate  of  the 
Royal  Academy  in  1862);  in  1863,  “ Taking  Notes  ”;  in  1864,  “ Turn 
again,  Whittington”;  in  1866,  “Light  in  Dark  Places”;  in  1369, 

“ Mentonese  Children  ”;  in  1870,  “Alone”;  in  1871,  “ The  Schoolmas- 
ter’s Daughter  ” (his  diploma  work,  deposited  on  his  election  as  Acad- 
emician); in  1874,  “ Peaches  ”;  in  1875,  “The  Early  Post”;  in  1877, 

“ Gleanings”;  in  1878,  “ Little  Zara.” 

His  “Young  Whittington”  was  at  Philadelphia  in  1876;  “The 
Early  Post”  and  “ Adversity,”  at  Paris  in  1878. 

Mr.  Sant  has  given  us  everything  in  this  painting  [‘  Early  Post,*  R A.,  1875] : youth, 
heauty,  life,  sympathy,  a charming  story,  and  a very  plea.sant  reminiscence  of  an  English 
countr>'-house,  without  our  ever  having  been  there.  As  an  example  of  careful  art-work 
and  purity  of  tone  in  coloring,  this  composition  of  itself  is  excellent,  but  as  an  incident  1 
of  every-day  life,  depicted  on  canvas,  it  is  one  of  the  very  best  pictures  of  the  Academy.”  j 
— Art  Journal,  July,  1875. 

Santarelli,  Emilio.  (Ital.)  Bom  at  Florence,  1801.  Professor  of  > 
the  Academy  of  Fine  Arts  at  Florence.  Son  of  an  artist,  he  wa.s 
early  instructed  in  design,  and  went  to  Rome,  where  he  was  a pupil  i 
of  Thorwaldsen.  He  has  not  attained  great  fame,  although  he  has 
executed  many  works  by  which  he  will  be  honorably  remembered. 

One  glorious  act  of  his  merits  the  gratitude  of  coming  generations. 

He  has  collected  a marvelous  number  of  original  drawings  by  the  old 
masters,  and  these  he  presents  to  the  city  of  Florence,  in  order  that 
they  may  never  be  dispersed  or  fall  into  mercenary  hands;  among  ^ 

them  are  some  chefs-d’auvre.  Among  the  works  of  Santarelli  are  a 
statue  of  Michael  Angelo,  placed  under  the  loggia  of  the  Uffizi,  | 

many  portrait  busts,  a series  of  bas-reliefs  of  mythological  subjects,  ' 

a statue  called  “ The  Good  Shepherd,”  a “ Kneeling  Magdalen,”  a ! 

“Bacchante,”  “The  Prayer  of  Innocence,”  “Cupid  in  Mischief,”  a I 
half-colossal  statue  of  St.  Francis,  etc. 

Sargent,  John  S.  {Am.)  A native  of  Philadelphia,  he  has  lived 
for  some  years  in  Europe,  painting  in  Paris  under  Carolus  Duran. 

His  “ Fishing  for  Oysters  at  Cancale,”  at  the  Exhibition  of  the  So- 
ciety of  American  Artists  in  New  York  in  1878,  was  purchased  by 
Samuel  Colman.  To  the  Paris  Salon,  in  1878,  he  had  “ Eu  route 
pour  la  Peche.”  At  the  Pai-is  Exhibition  of  1878  he  exhibited  a por- 
trait. 

Sarrocchi,  Tito.  {Ital.)  Born  in  Siena  about  1825.  Professor 
at  the  Academy  of  Siena.  Pupil  of  this  Academy  and  of  Dupre  in 
Florence.  He  has  been  successful  as  an  artist,  showing  much  imagi- 
nation, great  fidelity  to  nature,  and  great  skill  in  execution.  Among 
the  works  by  which  he  is  known  we  may  mention  the  “ Finding  of 
the  Cross  by  Queen  Helena,”  an  alto-relievo  on  the  facade  of  Santa 
Croce,  Florence  ; a very  beautiful  Bacchante,  exhibited  at  the  Exposi-  i 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  235 


tion  in  Paris  in  1867  ; a fine  group  for  the  Campo  Santo  of  Siena  ; a 
group  of  a little  girl  teaching  a young  child  his  first  prayer ; a beauti- 
ful figure  of  Hope,  and  several  portrait  statues,  all  fine  in  conception 
and  execution.  The  restorations  of  the  statues  of  the  Cathedral  of 
Siena  and  ©f  the  Fonte  Gaia  in  the  Piazza  Victor  Emmanuel  are  by 
Sarrocchi. 

Sartain,  John.  (Brit-Am.)  Born  in  London,  1808.  Academi- 
cian and  member  of  the  Philadelphia  Academy  of  Fine  Arts.  Trustee 
and  Member  of  the  Committee  on  Instruction  in  the  Pennsylvania 
Museum  and  School  of  Industrial  Art,  Controller  of  the  Artists’  Fund 
Society,  Philadelphia.  Vice-President  of  the  School  of  Design  for 
Women,  Philadelphia.  Chief  Administrator  of  Fine  Arts  at  the  Phil- 
adelphia Centennial  Exhibition  of  1876.  Honorary  Member  of  the 
Art  and  Amicital  Society  of  Amsterdam.  In  1878  he  received  the 
Cross  of  Officer  of  the  Equestrian  grade  of  the  Order  of  the  Crown 
of  Italy  from  King  Umberto.  He  removed  to  America  in  1830,  hav- 
ing already  made  a reputation  as  an  engraver.  In  1842-43  he  was 
proprietor  of  Campbell’s  Magazine  and  editor  of  Sartain’s  Union 
Magazine.  He  was  the  first  engraver  in  mezzo-tinto  of  any  account. 
He  has,  it  is  said,  produced  more  works  than  any  other  living  en- 
graver. His  ‘‘  Christ  Rejected,”  after  Benjamin  West,  and  “ The  Iron- 
Worker  and  King  Solomon,”  after  C.  Schussele,  are  the  largest  and 
most  important  as  well  as  the  finest  mezzo-tinto  plates  ever  made  in 
America.  His  portraits  of  Sir  Thomas  Lawrence  and  others  are 
fine ; that  of  Professor  Mapes  was  made  from  his  own  drawing. 
His  “ Battle  of  Gettysburg,”  after  the  picture  by  Peter  F.  Rothermel, 
is  a very  interesting  work.  Among  his  plates  are,  William  Penn  (full 
length),  after  H.  Inman  ; Henry  Clay  (full  length,  in  the  act  of  speak- 
ing), after  John  Nagle  ; Martin  Van  Buren  (full  length),  after  Inman, 
and  other  portraits,  which  we  have  not  space  to  name.  Also,  “ Adam 
and  Eve,”  after  Marc  Antonio’s  celebrated  print ; “ Zeisberger  preaching 
to  the  Indians,”  after  Schussele  ; “ County  Election  in  Missouri,”  after 
C.  C.  Bingham  ; “ Eugenie,  Empress  of  France,  and  the  Ladies  of  her 
Court,”  after  Winterhalter  ; “ The  Return  from  Market,”  after  J.  L. 
Krimmel ; “ The  Valley  of  the  Battenkill,”  after  Boutelle  ; etc.  He 
has  been  for  many  years  a resident  of  Philadelphia. 

Sartain,  William.  (Am.)  Born  in  Philadelphia,  1843.  Son 
of  the  preceding.  He  spent  six  months  in  the  Pennsylvania  Academy 
of  Fine  Arts  and  seven  years  under  Leon  Bonnat  at  Paris,  study- 
ing also  at  the  Academie  Nationale  des  Beaux- Arts,  and  making 
excursions  to  Algiers  and  elsewhere.  He  passed  one  winter  in 
Rome,  one  in  Seville,  and  the  winter  of  1877  and  ’78  in  New  York, 
joining  the  Society  of  American  Painters  on  its  organization  in  1877, 
and  contributing  to  its  first  exhibition,  “ A Court-Yard,  Paris,”  “ Ital- 
ian Girl,”  and  other  pictures.  His  “ View  in  the  Street  of  Algiers  ” 
was  in  the  Paris  Exposition  of  1878.  His  “ Italian  Head,”  at  the  Na- 


236  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


tioiial  Academy  of  1876,  was  purchased  on  the  opening  day  of  the 
Exhibition  by  Samuel  Colman,  N.  A.  To  the  National  Academy,  in 
1878,  he  contributed  “ Young  Italy  ” and  “ A Street  in  Algiers.” 

“ For  a female  figure  in  life-scale,  however,  if  we  wish  to  go  to  one  which  easily  over- 
comes everything  else  in  the  Exhibition,  whether  portraits  or  invented  ‘eharacters,  we 
must  approach  William  Sartain’s  simple  head  of  a Contadina  [N.  A.,  1870].  No  other 
study  of  life  compares  with  it  in  the  most  distant  way,  and  from  the  standpoint  of  its 
intentions  and  problems  it  may  be  called  a perfect  work.  It  is  a beautiful,  plaintive 
Italian  face,  looking  upward  in  prayer.  The  lifting  of  the  brows  over  the  forehead  : the 
sockets  of  the  black,  hollow  eyes  ; the  dark,  yet  transparent,  olive  of  the  cheek  ; and  the 
flesh  shadows,  so  deep,  yet  not  opaque,  show  the  great  promise  and  present  success 
of  this  pupil  of  Bonnat."  — New  York  Nation,  April  6,  1876. 

“ The  colors  are  so  grave  and  the  modeling  so  delicate  that  it  reminds  one  of  the  Span- 
ish pictures  in  the  Louvre  or  the  Pitti.  This  is  W.  Sartain’s  ‘ Italian  Head,’  something 
wholly  quaint  and  unusual  for  an  American  painter.  Artists  admire  it  for  its  exquisite 
lelations  of  light,  and  the  excellent  manipulation  of  the  paint.”  — Art  Journal,  April, 
1876. 

Sartain,  Emily.  (Am.)  Bora  in  Philadelphia,  1841,  Daughter 
of  John  Sartain,  the  well-known  American  engraver,  from  whom  she 
acquired  the  art  of  engraving  on  steel.  She  was  a pujiil  of  the 
Pennsylvania  Academy  of  Fine  Arts,  Philadelphia,  and,  going  to 
Europe,  she  studied  in  Paris  four  years  with  Evariste  Luminais.  Her 
work  has  been  portraits  and  genre  pictures.  She  has  exhibited  in  the 
Salon  in  Paris,  and  at  different  local  academies  throughout  the  United 
States.  The  greater  part  of  her  professional  life  has  been  spent  in 
Philadelphia,  where  she  has  practiced  both  painting  and  engraving. 
She  worked  for  some  time  in  Paris,  and  in  Parma,  Italy.  To  the 
Centennial  Exhibition  in  Philadelphia,  in  1876,  she  contributed  “ The 
Eeproof,”  for  which  in  the  official  report  she  was  “ commended  for 
merit  in  genre  painting.” 

Satterlee,  Walter.  (Am  ) Born  in  Brooklyn,  N.  Y.,  1844.  A 
graduate  of  Columbia  College.  He  studied  art  in  the  schools  of  the 
Academy  of  Design,  spent  some  time  in  the  studio  of  Edwin  White 
in  New  York,  and,  going  abroad,  was  a pupil  of  Leon  Bonnat  in 
Paris.  He  began  to  exhibit  at  the  National  Academy  about  1868, 
sending  to  the  gallery  in  that  year,  “Autumn  turning  the  Leaves” 
and  “ Count  Fosco.”  In  1870  he  contributed  “ Morning  among  the 
Flowers”  ; in  1871,  “Feeding  the  Pets”  ; in  1873,  “A  Coquette  of 
the  Olden  Time”  ; in  1874,  when  he  was  in  Rome,  he  sent  “ Out  for 
a Ride”  (belonging  to  H.  C.  Howell)  ; in  1876,  “The  Arrow  and 
Song  ” ; in  1877,  “ His  Eminence  the  Cardinal  ” ; in  1878,  “ Contem- 
plation ” and  “ The  Captive.”  He  was  elected  a member  of  the  Amer- 
ican Society  of  Painters  in  Water-Colors  in  1873  or ’74,  exhibiting, 
in  1875,  “ The  Young  Bohemians  ” and  “ Cinderella  ” ; in  1876,  “ The 
Evening  Prayer  on  the  Lake”  ; in  1877,  “The  Fortune-Teller”  ; in 
1878,  “Old  Ballads,”  “ The  Belle  of  the  Yillage,”  etc.  Among  his 
most  important  ivorks  are,  “ Contemplation,”  “ Come,  ye  Disconso- 
late,” “ The  Peacemaker,”  “ Marguerite,”  “ Love  in  Sunshine,”  “ Love 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  237 


in  Shade,”  and  “Love-Making  in  Capri”  (the  last  belonging  to  Sam- 
uel V.  Wright  of  New  York).  To  the  Centennial  Exhibition  at 
Philadelphia,  in  1876,  he  sent  “ Marguerite  ” (in  oil),  and  “ Far- 
Away  Thoughts”  and  “One  Hundred  Years  Ago  ” (in  water-colors). 

Scaramuzza,  Francesco.  (Jtal.)  This  artist’s  illustrations  of  the 
“ Divine  Comedy”  are  much  praised.  His  subjects  have  been  varied; 
liistorical,  poetical,  and  mythological  themes  have  all  come  under  his 
brush.  He  has  boldness  and  energy,  and  his  effects  of  light  are  as- 
tonishing. His  representations  of  “The  Assumption  of  the  Virgin,” 
“Eve,”  “ Sarah,”  and  “ Rachel”  are  admirable. 

Schadow,  Friedrich  Wilhelm.  {Ger.)  Born  at  Berlin  (1789- 
lf62).  Doctor  of  the  University  of  Bonn.  Knight  of  the  Red 
Eagle  and  other  orders.  Member  of  the  Academy  of  Berlin  and  the 
Institute  of  France.  Professor  at  Berlin  and  at  Dusseldorf.  Went  in 
1810  to  Rome  with  his  brother  Rudolph,  and  joined  the  German 
artists  there,  who  were  called  “ Nazarites.”  Two  years  later  both 
brothers  entered  the  Roman  Catholic  Church.  The  “Wise  and  Fool- 
ish Virgins  ” of  the  Stiidel  Institute,  Frankfort,  is  a fair  work  from 
which  to  judge  this  painter.  He  was  not  a great  master,  and  he  holds 
higher  rank  as  a professor  than  as  an  artist.  Scholars  crowded  to  him 
from  Berlin,  and  at  Diisseldorf  he  numbered  Hildebrandt,  Sohn,  and 
Lessing  among  his  pupils.  He  lived,  however,  to  see  even  this  glory 
shadowed.  He  was  accused  of  sectarianism  or  over-zeal  for  religious 
art ; he  was  called  weak  and  superficial,  and  he  resigned  his  position  as 
a leader.  He  received  many  honors,  but  he  paid  the  necessary  penalty 
in  this  age,  for  desiring  every  picture  to  be  sanctified  by  crucifixes, 
Virgins,  and  other  symbols,  i'orgetting  that  truth  and  beauty  simply 
rendered  must  lead  the  mind  to  the  source  of  truth,  and  need  not  the 
aids  of  artificial  or  formal  signs.  At  the  National  Gallery,  Berlin, 
are  his  “ Christ  at  Emmaus  ” and  a portrait  of  a woman. 

Schampheleer,  Edmond  de.  (Belgian.)  Born  at  Brussels. 
Medal  at  Philadelphia,  where  he  exhibited  “Nimuegen  on  the  River 
Wahal.”  At  Paris,  1877,  were  his  “ Dordrecht  and  the  Meuse  ” and 
“ The  Road  of  Loosdricht  at  Hilversum.”  He  has  also  exhibited  some 
of  the  above  pictures  at  the  Royal  Academy,  London,  and  at  the  Paris 
Exposition,  1878,  to  which  he  sent  “Near  Gonda”  and  “Between 
Witteren  and  Zele.” 

Schaus,  Prof.  Ferdinand.  (Ger.)  Of  Weimar.  Medal  at  Phila- 
delphia, where  he  exhibited  “ Saint  John  ” and  “ A Dryad,”  which 
were  commended.  To  Paris,  in  1878,  he  sent  “Calisto.” 

Scheffer,  Ary.  Born  at  Dordrecht  (1795-1858).  Officer  of  the 
Legion  of  Honor.  This  artist  was  French  before  the  civil  law,  because, 
under  the  name  of  the  Bavarian  Republic,  his  birthplace  >vas  within 
the  limits  of  the  new  French  Departments.-  His  father,  an  artist,  died 
young,  and  his  mother  superintended  his  education.  As  early  as 
1807  a picture  of  ScheffeFs  attracted  attention.  His  mother  took 


238  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


him  to  Paris,  and  placed  him  under  the  instruction  of  Guerin.  For 
several  years  after  his  debut  he  painted  small  genre  subjects,  includ- 
ing “ The  Soldier’s  Widow,”  “A  Sister  of  Charity,”  etc.  At  length 
he  occupied  himself  with  scenes  from  works  of  great  poets,  such  as 
Goethe,  Burger,  Schiller,  Dante,  and  Byron.  “ Beatrice  ” and  “ Fran- 
cesca di  Rimini,”  which  appeared  at  the  Salon  of  1835,  were  his 
crowning  works  in  this  department.  Later,  he  devoted  himself  to  re- 
ligious subjects,  as  “Christ  bearing  his  Cross,”  “Temptation  of 
Christ,”  “ Christ  the  Consolator,”  “ Ruth  and  Naomi,”  etc.  Many  of 
his  works  are  well  known  from  the  engra\dngs  of  Bernard!,  Blanchanl, 
Calamatta,  Dupont,  Louis,  Thevenin,  etc.  Scheffer  may  be  called  a 
romanticist.  He  was  extravagantly  fond  of  music,  and,  in  truth, 
had  the  soul  of  a poet.  After  the  death  of  his  mother  he  wished  to 
execute  a funeral  monument  for  her,  not  being  willing  that  any  hand 
but  his  own  should  do  this  work.  He  essayed  sculpture  for  the  first 
time,  and,  for  a novice,  the  work  was  creditable.  The  sentiment 
which  prompted  this  act  is  most  touching  to  the  hearts  of  all  mothers. 
At  the  Johnston  sale.  New  York,  1876,  “ Love  Celestial  and  Terres- 
trial ” (13  by  8,  sepia)  sold  for  $200.  At  the  Corcoran  Gallery, 
Washington,  is  his  picture  of  “ Count  Eberhard.” 

“All  the  circumstances  of  Scheffer’s  life  were  favorable  to  his  artistic  development. 
His  father  had  been  a respectable  artist,  with  a competent  pirivate  fortune  ; . . . . 
Madame  Scheffer  herself  was  an  amateur  painter  of  some  ability,  and  both  respecte>l 

artists  and  understood  the  aims  of  their  existence Scheffer,  like  David,  led  an 

ardent  political  life  by  the  side  of  his  artistic  one  ; but  whereas  David’s  jiolitical  career 
lowere  him  in  the  opinion  even  of  his  own  party,  that  of  Scheffer  is  always  honor- 
able, and  its  greatest  fault  is  nothing  worse  than  that  want  of  jirudence  inseparable 

from  all  private  political  action Scheffer  will  be  rememlrered  as  a friend  of  the 

Orleans  family.  He  was  introduced  to  them  by  Gerard  in  1S2G,  and  became  their 
drawing-master,  and  soon  afterwards  their  friend.  ....  It  is  very  curious  that  Scheffer 
w.as  one  of  the  two  persons  [Thiers  being  the  other]  who.  in  1S30,  rode  to  Xeuilly  to  tell 
Louis  Philippe  that  he  was  to  be  king,  and  that  Scheffer  should  have  lieen  also  one 
of  the  sad  group  th.at  quitted  the  Tuileries  in  1S4S,  when  he  assisted  Louis  Philil'pe 

into  his  cab The  affectionate  relation  which  existed  between  Scheffer  and  the 

Pi  incess  Marie  reminds  us  of  Roger  Ascham  and  Lady  Jane  Grey Scheffer,  as  an 

artist,  owes  his  rank  almost  entirely  to  the  elevation  of  his  feeling.  His  drawing  is 
usually  correct  and  his  taste  refined  ; but  his  color  is  b.ad,  and  though  his  handling  is 
neat,  from  much  practice,  it  has  no  artistic  subtlety.  The  excellence  of  his  personal 

character  had  some  concent  in  his  success I have  a great  difficulty  in  admitting 

that  any  artist  is  a great  painter  who  is  not  also  a colorist,  and  Sclieffer,  by  uniting  bad 
color  with  considerable  artistic  merits  of  other  kinds,  has  done  positive  harm  to  the  art 

of  painting Of  landscape  he  was  wholly  ignorant,  and,  like  most  figure-painters. 

could  not  understand  that  there  were  fields  of  study  in  that  department  of  art  lying 
outside  the  limits  of  his  knowledge.  He  w.as  a cultivated  gentleman  and  man  of  the 
world,  and  had  the  habits  of  one,  so  far  as  they  were  compatible  with  the  industrious 
pursuit  of  art.  His  great  interest  in  politics  gave  him  a common  ground  on  which  he 
habitually  met  men  of  distinction  who  were  more  or  less  indifferent  to  painting.  In  this 
respect  Scheffer  enjoyed  an  .advantage  somewhat  rare  among  artists,  whose  oavn  pursuit 
is  so  engrossing  that  they  are  liable  to  be  entirely  absorbed  by  it  ...  . He  will  be  re- 
membered as  .an  artist  of  high  aim  and  pure  sentiment,  and  a man  of  more  than  com- 
mon political  conviction  and  fidelity.  Imt  his  influence  upon  art  has  been  slight  and 
will  not  be  durable."  — Hamertox’s  Contemporary  French  Painters. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  239 


“ However,  An,'  Scheffer  was  not  alone  an  artist,  he  was  a mind,  a heart,  a character : 
a mind  open  to  all  culture,  all  graces,  all  enthusiasms  ; a heart  tender,  generous,  de- 
voted, under  an  envelope  somewhat  rude  and  harsh  : a character  imbued  with  stoicism 
with  inflexible  uprightness,  austere  probity,  which  has  lived  in  our  time  (it  is  to  say  all) 
without  pollution,  without  weakness  or  faltering.  Have  I told  how  sweet  and  true 
were  his  friendships,  how  solid  and  charming  his  conversations,  how  sincere  indulfent, 
andfaithfui  his  affection?  To  enjoy  them  was  the  imivilege  of  his  friends  and  asso- 
ciates. Did  I tell  of  his  unbounded  generosity,  his  prodigal  benevolence,  so  inex- 
jiressible  that  after  a fruitful,  laborious  life  and  many  well-paid  labors,  Scheffer  had 
only  wherewith  to  live  from  day  to  day,  and  left  not  the  least  saving  ? He  would  tell 
me  that  the  left  hand  should  not  know  that  which  the  right  gives.  Shall  I tell  in  fine 
the  immovable  constancy  of  his  opinions  and  of  the  attachments  which  he  formed  2 ...  . 
I wish  only  among  a hundred  equally  honorable  acts  to  cite  one,  not  well  known,  and 
which  a late  confidence  revealed  to  me.  Ary  Scheffer  was  for  a long  time  an  Officer  of 
the  Legion  of  Honor.  After  the  terrible  and  fatal  days  of  June,  1848,  when  he  bravely 
led  the  battalion  of  the  National  Guard,  of  which  he  was  chief,  the  cross  of  a com- 
mander was  offered  him.  ‘ If  this  distinction,’  replied  he,  ‘ were  accorded  to  me  in  my 
career  as  an  artist,  and  as  a ]>rize  for  my  works,  I should  receive  it  with  deference  and 
satisfaction  ; but  to  adorn  myself  with  a collar  which  would  recall  to  me  the  horrible 
combats  of  civil  war,  — never  ! ’ He  was  indexible.  This  instance  suffices  to  paint  the 
man,  and  we  can  terminate  this  sketch  of  his  life  with  the  last  words  of  the  preface 
to  the  Book  of  Job,  in  which  the  eminent  interpreter  of  this  old  Hebrew  poet 
deplores  that  Ary  Scheffer  was  not  able  to  finish  his  compositions  on  this  subject. 
‘ Alas  ! what  lessons  of  moral  elevation,  what  a source  of  i)rofounJ  emotions  and  high 
thoughts,  have  disappeared  from  our  age,  so  poor  in  great  souls,  with  the  last  sigh  of 
this  man  of  heart  and  genius.’ ” —Louis  Viardot,  Gazette  des  Beaux-Arts,  February, 
1859. 

Schelfhout,  Andrew.  (Dutch.)  Born  at  The  Hague  (1787- 
1870).  Member  of  all  the  academies  of  Holland.  Medals  at  Ant- 
werp, Brussels,  Ghent,  and  The  Hague.  This  landscape-painter  was 
especially  successful  in  representing  winter  scenes.  His  pictures  are 
in  the  Munich  and  other  galleries.  They  are  usually  small,  although 
he  has  sometimes  painted  large  works.  They  show  skillful  drawing, 
with  fine  knowledge  of  perspective,  and  are  good  in  color  and  care- 
ful in  execution.  At  the  Johnston  sale,  “A  Winter  Landscape”  (21 
by  27)  sold  for  $610.  It  was  from  the  Wolfe  sale  in  1863.  At  a 
sale  in  Utrecht,  1873,  “The  Mountain  Landscape”  brought  .£758. 
Mr.  Probasco  of  Cincinnati  has  in  his  collection  “ A Skating  Scene  ” 
by  Schelfkout,  painted  in  1849,  which  is  a fine  example  of  this  mas- 
ter’s style. 

Schenck,  August-Frederic-Albrecht.  (Ger.)  Born  at  Gluck- 
stadt,  1828.  Chevalier  of  the  Orders  of  Christ  of  Portugal  and  of 
Isabella  the  Catholic.  Medal  at  Philadelphia.  He  passed  some  time 
in  business  in  England  and  Portugal  before  he  became  a pupil  of 
Cogniet.  He  made  his  debut  at  the  Salon  of  1855.  His  “ Repose 
on  the  Seashore  ” (1864)  and  “ The  Aw'akening  ” (1865)  were  bought 
by  the  State.  His  pictures  are  much  admired,  and  his  reputation  is, 
perhaps,  greater  in  England,  Portugal,  and  America  than  in  France. 
His  exhibit  of  1877,  “ The  Return  to  the  Park”  and  “ A Bit  of  Au- 
vergne,” was  much  praised.  Soon  after  his  debut  he  lost  his  fortune. 


240  ARTISTS  OF  THE  NINETEESTH  CENTURY. 


At  Philadelphia  he  exhibited  “Sheep  in  a Storm.”  Mr.  D.  Waldo 
Lincoln  has  a very  fine  work  by  Schenck  with  the  same  title.  Among 
his  more  famous  pictures  are  “ Autour  de  I’auge,”  belonging  to  Count 
Castellani ; “ Perdus,”  to  Miss  Wolfe  of  New  York  ; “ The  last  Hour,” 
to  Mr.  Gibson  of  Philadelphia.  Mrs.  Eliza  Sutton  of  Peabody,  Mass., 
has  a fine  example  of  his  brighter  manner,  where  the  flock  are  be- 
neath a bright  sky,  in  the  midst  of  gay  flowers  and  fresh  pasturage. 
The  “Awakening”  is  at  the  Museum  of  Bordeaux;  and  “In  the 
Dale,”  at  the  Museum  of  Lille, — in  short,  Schenck’s  pictures  are  in 
many  galleries  in  Europe  and  America.  At  the  Salon  of  1878  he 
exhibited  “ Anguish  ” and  “ The  Neighboring  Mill.” 

“ Albert  Sclienck  is  certainly  one  of  the  most  original  figures  of  the  contemporaneous 
artistic  gallery  ; I should  like  to  have  the  time  to  paint  in  full  this  robust  companion, 
born  in  Holstein,  annexed  by  Prussia  without  asking,  and  adopted  by  France  because  he 
wished  it.  All  the  world  to-day  regards  Schenck  as  one  of  our  first  animal-painters. 
He  is  one  of  those  originals,  of  a species  not  yet  extinct,  who  prefer  dogs  to  men,  and 
find  more  sweetness  in  sheep  than  in  women.  With  such  fancies  one  leaves  the  city  for 
the  fields,  and  has  only  to  do  with  animals.  Our  artist  has  taken  this  part  after  having 
profoundly  studied  his  fellow-creatures.  Retired  to  Ecouen,  to  a farm,  he  lives  in  the 
midst  of  oxen,  dogs,  goats,  asses,  horses,  and  sheep  of  all  types,  races,  and  species  ; 
cares  for  tl-.ein,  cultivates  them,  loves  them,  and  .above  all  studies  them,  as  never  artist 
studied  his  models.  He  knows  better  than  any  one  their  habitual  behavior,  their  favor- 
ite poses,  their  prefeiTed  attitudes,  and  the  mobile  play  of  their  physiognomies.  By 
means  of  studying  closely  the  joys  and  griefs  of  these  modest  cumi>anions  and  humble 
servants  of  man,  he  has  penetrated  the  inmost  recesses  of  their  souls,  which  he  knows 
how  to  show  us  in  pictures  of  striking  truth.  His  animais’  heads  are  jiortraits  particu- 
larized with  all  the  care  which  Cabanel,  Dubufe,  and  Bonnat  gave  to  the  human  mask. 
Tlie  picture  which  he  exhibits  to-day  under  the  title  of  ‘ Angoisses  ’ is  pathetic  to  the 
last  degree.  A lamb  is  wounded,  lying  on  the  ground,  losing  its  blood,  which  pours  out 
of  a horrible  wound.  The  ravens,  with  their  infallible  instinct,  scent  the  approaching 
death,  and  await  their  prey  ; their  sinister  circle  is  closed  in,  — the  unfortunate  little 
beast  cannot  escape  them.  The  mother  is  there ; she  comprehends  it,  the  poor  crea- 
ture ! the  fate  which  awaits  her  dear  nursling,  and  broken-hearted,  full  of  anguish  [it  is 
the  title  of  the  picture,  and  it  is  just],  she  bleats  for  the  shepherd  who  comes  not  It  is 
a little  drama,  this  picture,  and  as  poignant  as  if  it  had  men  for  actors  and  victims.”  — 
Supplement  of  the  Figaro,  June  5,  1878. 

“ There  are  few  artists  more  popular  than  Schenck,  and  the  crowd  wl-.ich  goes  from 
year  to  year  to  the  Palace  of  Industry  has  quickly  discovered,  among  the  innumerable 
pictures,  his  works  with  a touch  so  spirituelle  and  a dramatism  so  powerful  in  their 
simplicity.  The  reflected  judgment  of  the  connoisseurs  confirms  the  instantaneous  im- 
pression of  the  multitude,  and  this  artist  is  able  to  please  equally  the  difficult  and  the 
nnifs.”  — £doi'abd  Dbumont,  Galerie  Contemporaine,  Litteraire,  Artistique,  1871. 

Schendel,  Petrus  van.  (Dutch.)  Born  at  Ter  Heyflen  (1806- 
1870).  Medals  at  Paris,  in  Holland  and  Brussels.  Studied  in  Am- 
sterdam, Eotterdam,  and  Antwerp.  His  earlier  works  included  a 
variety  of  subjects.  After  a time  be  devoted  himself  to  scenes  by 
lamplight  and  firelight,  which  were  very  popular.  At  the  National 
Gallery  at  Berlin  are  two  of  his  market-scenes,  “ A Woman  selling 
Fish”  and  another  with  vegetables.  At  the  Leipsic  Museum  are 
“The  Rettirn  from  the  Hunt”  and  “A  Scene  in  a Fish- Market.” 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  241 


Schetky,  John  Christian.  (Brit.)  Born  in  Scotland  (1778- 
1874).  Educated  at  the  Hi"h  School  of  Edinburgh,  with  Brougham, 
Scott,  and  Horner.  In  1825  and  previously  he  exhibited  marine- 
pictures  of  an  historical  character,  and  was  marine-painter ' succes- 
sively to  George  IV.,  William  IV.,  and  Victoria.  He  exhibited  at 
the  Royal  Academy,  London,  as  late  as  1871,  “A  Gallant  Rescue” 
and  “Coming  to  Anchor  in  Portland  Roads”;  in  1872,  he  sent 
“Wreck  of  the  Frigate  Anson,”  “Shipping  in  the  Olden  Time,”  and 
“ A Trial  of  Speed  off  the  Dodman.” 

“ As  a marine-painter  Mr.  Schetky’s  pictures  were  always  held  in  estimation  for  their 
truthfulness  ; this  quality  appears  to  have  been  his  great  aim.  A gallery  of  his  works 
would  contain  among  them  some  of  the  most  stirring  nav.al  actions  that  occurred  dui'- 
iiig  the  long  wars  of  the  early  part  of  tills  century,  besides  others  of  a later  time.”  — 
Art  Journal,  February,  1874. 

Schievelbein,  Friedrich  Anton  Hermann.  (Ger.)  Born  in 
Berlin  (1817  - 1867).  Pupil  of  the  Berlin  Academy  and  of  Professsor 
Ludwig  Wichmann.  He  early  received  a commission  at  St.  Peters- 
burg, where  he  was  employed  in  the  rebuilding  of  the  Winter  Palace 
and  on  the  St.  Isaac’s  Church.  At  that  time  he  had  taken  the  grand 
prize  at  Berlin.  Before  he  left  for  Rome  he  sent  in  his  drawing  for 
the  group  for  the  Castle  Bridge.  The  choice  fell  on  his  design,  and 
he  soon  retuined  from  Rome  in  order  to  execute  it.  At  Berlin  he 
was  very  active  and  much  employed  in  public  works.  The  Stein 
memorial  was  completed  from  his  designs,  by  his  pupils,  after  his 
death  (it  was  not  erected  until  1875).  He  also  made  the  statues  of 
Luther  and  Melancthon  for  the  University  of  Konigsberg.  At  the 
National  Gallery,  Berlin,  is  the  model  of  a frieze  in  relief,  subject, 
the  “ Destruction  of  Pompeii.”  Among  his  other  works  are,  “ The 
Muses,”  “Raphael,”  “The  Months”  (at  Sans-souci),  “Colossal  Statue 
of  Hermann  von  Salza,”  “A  Despised  Christ,”  “A  Winter  Evening,” 
“ A Protecting  Angel,”  etc. 

Schilling,  Johannes.  (Ger.)  Bom  at  Mittweida,  1828.  At  the 
Leipsic  Museum  are  his  reliefs  of  “Jupiter  and  Ganymede”  and 
“ Aphrodite  and  Eros.”  At  the  Briihl  Terrace  in  Dresden  are  his 
groups  of  “Evening”  and  “ Night.”  Among  his  latest  productions 
is  the  National  Monument  in  the  Niederwald, — a great  work,  com- 
bining a representation  of  “Father  Rhine,”  nymphs,  and  other  de- 
signs. 

Schinkel,  Karl  Friedrich.  (Ger.)  Born  at  Neu-Ruppin  (1781.- 
1841).  Studied  at  the  Academy  of  Berlin  under  David  and  Fried- 
rich Gilly.  Traveled  in  Italy  and  visited  Paris.  He  was  for  a while 
obliged  to  support  himself  by  painting,  at  which  time  he  became  as- 
sociated with  Karl  Gropius,  for  whom  he  later  composed  his  famous 
panoramas.  In  1824  and  ’26  he  again  visited  Italy  and  France,  and 
also  England.  In  1839  he  received  a high  official  position  as  an 
architect  in  Prussia.  His  decorative  works  were  remarkable  for  their 


VOL.  II. 


11 


P 


242  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


grandeur  of  conception  and  grace  of  composition.  He  was  somewhat 
wanting  in  technique  ; but  his  sentiment  and  rich  imagination  gave 
a spirit  to  his  works  which  more  than  compensated  for  this.  At 
the  National  Gallery  of  Berlin  are,  “ An  Ideal  Landscape  at  Sunset,” 
“An  Italian  Landscape,”  and  several  others. 

Schirmer,  Guillaume.  {Ger.)  Born  at  Berlin  (1804-1866). 
Prol'essor  and  Member  of  the  Academy  of  Berlin.  He  executed  deco- 
rative works  in  the  Castle  of  Prince  Albert  of  Prussia,  and  in  the 
New  Museum  of  Berlin.  In  the  National  Gallery,  Beilin,  are  his 
pictures  of  “ Tasso’s  House  at  Sorrento  ” and  a “ Scene  at  Sans- 
Souci.” 

Schleich,  Eduard.  {Ger.)  Born  in  Castle  Haarbach  near  Land- 
shut  (1812- 1874).  Royal  Professor  of  Bavaria.  Pupil  of  the  Mu- 
nich Academy,  but  essentially  taught  by  the  old  masters  and  nature, 
which  he  studied  lovingly.  His  pictures  are  landscapes.  He  trav-  j 
eled  considerably  in  Europe.  His  “ Evening  Landscape  ” is  in  the  I 
National  Gallery,  Berlin.  His  “ Beach  at  Scheveningen  ” (belonging  • 
to  the  Royal  Museum  at  Munich)  was  at  the  Paris  Exposition  of 
1878.  ^ 

Schlesinger,  Henri  Guillaume.  (Hr.)  Born  at  Frankfort.  • 
(Naturalized  Frenchman.)  Chevalier  of  the  Legion  of  Honor.  Pupil 
of  the  Academy  of  Vienna.  He  made  his  debut  at  the  Salon  of  1840. 

At  the  Salon  of  1875  he  exhibited  “ The  Dove-Cot  ” and  “ Jehanne  ” ; 
in  1874,  “ Brother  and  Sister”;  in  1872,  “Lost  Labor”;  in  1869, 

“ The  Good  Friends,”  etc.  He  has  e.xhibited  many  portraits.  At  the 
Royal  Academy,  in  1873,  he  had  “ Ce  n’est  pas  moi ! ” To  the  Salon 
of  1878  he  sent  “A  Good  Kiss”  and  “Correggio  drawing  some 
Pictures  of  Children.”  | 

Schloesser,  KarL  {Ger.)  Bom  at  Darmstadt.  Painter  of  the 
Diisseldorf  school.  Resides  in  London.  Knight  of  the  Order  of  Merit. 
Medal  at  Vienna.  At  the  Exhibition  of  1876,  at  the  Royal  Aardemy, 
he  exhibited  “ The  Village  Lawyer”;  at  the  first  exhibition  of  the 
Grosvenor  Gallery  (1877),  “ The  Refectory.”  His  “ Forbidden  Fruit  ” 
was  bought  by  Napoleon  HI.  Among  his  other  works  are,  “ The 
Reprimand  ” and  “ Reading  the  News,”  — the  last  is  a small  picture  i 
(only  12  by  9)  and  was  sold  at  the  Johnston  sale  in  1876  for  $310.  ' 

“ The  Political  Opponents  ” was  much  remarked  at  the  Berlin  Expo- 
sition of  1871.  Ill  1875  he  exhibited  “ Obligatory  Instruction  ” (two 
ohildren  sent  off  to  school,  one  going  very  unwillingly).  At  the 
London  Academy  in  1878  he  e.xhibited  “Reprimand,”  and  at  Paris, 
same  year,  “ Seeking  Advice.” 

Schmid,  Mattias.  Pupil  of  Piloty.  Paints  the  same  sort  of  sub- 
jects as  Defregger,  and  has  nearly  always  a political  or  religious 
motive  behind  his  representations.  One  of  his  most  powerful  works 
represents  priests  pla5dng  cards  before  a Tyrolese  inn  ; an  old  ni;m 
comes  forward  and  beseeches  the  holy  fathers  to  buy  his  crucifixes 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  243 


wliich  he  carries  in  his  arms  ; his  wife  with  her  infant  remains  a little 
behind.  The  priests  roughly  repulse  him,  but  a young  girl  who  is 
serving  them  with  beer  regards  the  old  man  with  pity. 

Schmidt,  Max.  (finr.')  Born  in  Berlin,  1818.  Professor  at 
Kbnigsberg.  Member  of  the  Academy  of  Berlin.  Medals  at  Berlin 
and  Vienna.  Studied  at  the  Berlin  Academy.  Traveled  extensively 
in  Europe  and  in  the  East.  Landscape-painter.  Some  of  his  decora- 
tive works  are  in  the  New  Museum  at  Berlin.  In  the  National  Gal- 
lery, Berlin,  is  his  “ Wood  and  Mountain.”  His  “ Banks  of  the  Spree, 
— Dull  Weather”  was  at  the  Paris  Exposition  of  1878. 

Schnorr  von  Carolsfeld,  Julius  Veit  Hans.  (Ger.)  Born  at 
Leipsic  (1794  - 1872).  Member  of  the  Institute  of  France.  Professor 
at  the  Academy  of  Munich,  and  later  at  the  Academy  of  Dresden, 
where  he  was  also  Director  of  the  Royal  Museum.  Pupil  of  his  father 
and  of  the  Academy  of  Vienna.  In  1817  he  went  to  Rome  and  re- 
mained ten  years.  After  his  return  to  Germany  he  was  commissioned 
by  King  Louis  to  execute  decorative  works  at  the  new  Residence. 
They  consisted  of  five  pictures  from  the  story  of  the  Nibelungenlied. 
He  also  executed  other  important  works  of  the  same  sort,  such  as 
scenes  from  the  lives  of  Charlemagne,  Barbarossa,  and  Rudolf  of  Haps- 
burg.  The  cartoons  of  the  Nibelungen  series  and  a picture  of  “ St. 
Roch  distributing  Alms  ” are  in  the  Museum  of  Leipsic.  At  the 
National  Gallery,  Berlin,  are  two  other  cartoons  of  scenes  from  the 
Nibelungenlied.  Among  his  other  pictures  are,  “ The  Three  Christian 
Cavaliers  ” and  “ The  Three  Pagan  Cavaliers,”  a “ Holy  Family,” 
frescos  of  scenes  from  the  works  of  Ariosto,  the  “ Marriage  of  Cana,” 
“ Jacob  and  Rachel,”  the  “ Annunciation,”  and  other  religious  subjects. 

Schoenewerk,  Alexandre.  (Fr.)  Bom  at  Paris.  Chevalier  of 
the  Legion  of  Honor.  Pupil  of  David  d’ Angers,  Jollivet,  and  Triqueti. 
At  the  Salon  of  1877  he  exhibited  the  “ Mime-dompteur,”  a group  in 
plaster  ; in  1876,  “ Hesitation,”  a marble  statue  ; in  1875,  “ A Young 
Girl  at  the  Fountain,”  in  terra-cotta,  being  a reduction  of  the  marble 
statue  of  1873  ; in  1874,  “ Lulli,”  plaster  statue  (model  of  a work  in- 
tended for  the  New  Opera),  “ St.  Thomas  Aquinas,”  statue  in  stone 
(for  the  fa9ade  of  the  Sarbonne),  and  “ The  Upper  Portion  of  a Monu- 
ment to  E.  Ortolan,  Professor  at  Law,”  bronze  ; and,  in  1872,  a statue 
of  the  “ Young  Tarentine,”  a subject  suggested  by  the  words  of  Che- 
nier, — 

“ Elle  a vecu,  Myrto,  la  jeune  Tarentine, 

Son  beau  corps  a roule  sous  la  vague  marine  ! ’* 

Scholtz,  Julius.  (Ger.)  Born  at  Breslau,  1825.  Professor  in  the 
Academy  of  Dresden,  and  Member  of  the  Academy  of  Berlin.  Studied 
at  Dresden  Academy  and  under  J.  Hiibner.  He  is  an  historical 
painter.  In  the  National  Gallery  at  Berlin  is  his  “Volunteers  of  1813 
before  Frederick  William  HI.” 

Schoru,  Charles.  (Ger.)  Born  at  Diisseldorf  (1803- 1850).  Pupil 


244  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


of  Cornelius  at  Munich,  and  of  Gros  and  Ingres  at  Paris.  When  he 
returned  to  Munich  he  assisted  Cornelius  in  some  of  his  great  works. 
Schom  made  the  cartoon  for  a painted  glass  window  for  the  Cathedral 
of  Ratisbon,  representing  “ The  Conversion  of  Slaves  by  St.  Benno.” 
He  was  employed  by  the  King  of  Bavaria  to  assist  in  forming  the 
Munich  Gallery.  He  visited  many  continental  cities  to  collect  jdc- 
tures,  and  in  London  purchased  Wilkie’s  “ Reading  of  the  WiU.”  His 
own  pictures  are  of  the  historical  genre  style,  such  as  “ Paul  III. 
contemplating  the  Portrait  of  Luther,”  *'  Salvator  Rosa  among  Brig- 
ands,” etc. 

Schrader,  Jules.  (Ger.)  Born  at  Berlin,  1815.  Professor  and 
Member  of  the  Academic  Senate  of  the  Academy  of  Berlin.  Medal 
at  Paris,  1855.  Pupil  of  his  father  and  the  Academy  of  Berlin, 
where  he  obtained  several  prizes,  but  failed  of  that  which  would  take 
him  to  Rome.  He  also  studied  at  Diisseldorf  under  Hildebrandt  and 
GuiUaume  Schadow.  At  Berlin  in  1844  he  gained  the  grand  prize, 
and  went  to  Rome  in  1845,  where  he  remained  three  years.  He  there 
painted  the  “ Capitulation  of  Calais,”  which  was  much  admired,  and 
gained  him  his  election  to  the  Academy  of  Berlin.  His  best  works  are, 
“ Frederick  the  Great  after  the  Battle  of  Kallin,”  at  the  Museum  of 
Leipsic  ; “ Jephthah’s  Daughter,”  in  the  Museum  of  Konigsberg  ; “ The 
Consecration  of  the  Church  of  St.  Sophia  at  Constantinople  by  the 
Emperor  Justinian”  (1853),  a grand  mural  painting  at  the  Museum  of 
Berlin  ; and  “Cromwell  at  the  Death-Bed  of  his  Daughter”  (1864), 
in  the  Museum  of  Cologne.  At  the  Exposition  in  the  Royal  Academy 
at  Berlin,  in  1876,  he  exhibited  “ The  Flight  ” and  two  portraits  ; and 
to  Paris,  in  1878,  he  sent  a portrait  of  Dr.  Becker. 

“Schrader  is.  moreover,  one  of  the  best  painters  of  genre  and  of  portraits  of  our  time, 
and  his  portraits  of  Alexander  voii  Humboldt  and  Peter  de  Cornelius  maybe  mentioned, 
above  all,  as  veritable  chefs-d'oeuvre.  His  jirinciiial  qualities  are  a profound  science  of 
colors,  an  inimitable  talent  in  the  drawing  of  the  nude  and  of  draperies,  and  a consum- 
mate knowledge  of  the  costumes  of  all  times.”  — Larousse,  Dictioniiaire  L'nivcrsel 

Schreyer,  Adolphe.  (Ger.)  Born  at  Frankfort-on-the-Main, 
1828.  Medals  at  Paris,  1864,  ’65,  and  ’67  ; at  Vienna,  in  1873  ; at 
Brussels,  in  1863  ; and  the  Cross  of  the  Order  of  Leopold  in  1864.  In 
1862  he  was  made  Painter  to  the  Court  of  the  Grand  Duke  of  Meck- 
lenbourg-Schwerin,  and  is  ilember  of  the  Academies  of  Antwerp  and 
Rotterdam,  and  Honorary  Member  of  the  Deutsches  Kochstift.  Be- 
longing to  a distinguished  family,  this  artist  received  every  adv.antage 
that  travel  and  instruction  can  give.  In  1855  he  followed  the  regi- 
ment commanded  by  Prince  Taxis  to  the  Crimea.  He  has  msited 
Algiers,  and  other  Eastern  countries,  as  well  as  all  the  principal  coun- 
tries of  Europe,  and  everywhere  has  diligently  studied  his  subjects. 
Among  his  best  works  are  the  “ Battle  of  Waghensel,”  belonging  to 
the  Duke  of  Mecklenbourg  ; the  “ Battle  of  Comorn,”  belonging  to  the 
Count  of  Bouilly-Mensdorf ; “ An  Attack  of  Cavalry,”  belonging  to 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  245 


M.  Eavenet  of  Berlin  ; the  “ Prince  of  Taxis  wounded  at  Temeswar,” 
belonging  to  the  family  of  the  Prince.  His  “ Horses  of  the  Irregular 
Cossacks,”  snow-scene  (1864),  and  a “ Charge  of  the  Artillery  of  the 
Imperial  Guard  in  the  Crimea  ” (1865)  are  in  the  Luxembourg.  At 
the  Johnston  sale,  New  York,  1876,  “ Wallachian  Peasants  crossing  a 
Ford  ” (21  by  42)  sold  for  $ 2,700  ; and  “ Arabs  Retreating  ” (45  by 
69)  for  $ 6,700.  At  the  Latham  sale.  New  York,  1878,  “ Traveling  in 
Russia  ” (18  by  42)  sold  for  $ 2,150  ; “ A Wet  Day  in  Moldavia  ” (18 
by  42)  for  $ 2,050,  and  a “ Wallachian  Stable  on  Fire  ” (47  by  79)  for 
$ 3,500.  “ The  Watering-Place  ” is  in  the  Corcoran  Gallery  at  Wash- 

ington. At  the  Museum  of  Fine  Arts  in  Boston  is  the  “ Flight  of  the 
Standard-Bearer,”  belonging  to  John  C.  Phillips.  At  the  Walters 
Gallery,  Baltimore,  are  the  “ Winter  Scene  in  Poland  ” and  an  “ Arab 
Horseman.”  A fine  picture  called  “ Winter  ” is  in  the  collection  of 
Mrs.  H.  E.  Maynard  of  Boston,  and  “ Coming  to  Camp  ” belongs  to 
Mr.  Frank  R.  Kimball  of  the  same  city.  It  is  a very  fine  specimen 
of  SchreyeFs  work,  and  is  a Wallachian  winter  scene. 

“Schreyev  joins  to  a grand  and  bold  conception  a profoundly  poetic  sentiment ; this 
makes  him  both  German  and  French.  His  manner,  as  well  as  his  talent,  has  two  na- 
tures ; it  recalls  both  Delacroix  and  Fromentin.  His  color  is  a happy  mingling  of  the 
dreamy  tones  of  the  one  and  the  powerful  colors  of  the  other.  And  one  should  above  all 
admire  it  for  the  incontestable  originality  thus  manifested  in  this  mingling,  — a quality 
one  does  not  look  for  in  a man  whose  character  and  manner  have  different  asjiects.  All 
that  I say  of  the  color  of  Schreyer  may  be  also  applied  to  his-drawing.  His  lines,  clear 
and  vague  at  the  same  time,  are,  in  spite  of  these  two  distinct  qualities,  strangely  per- 
sonal with  this  artist.  From  all  this  the  great  talent  of  Schreyer  seems  like  something 
much  more  than  talent.”  — Courrier  Artistique,  Februar)',  1864. 

In  the  “Moniteur  Universe!,”  February  18,  1864,  Theophile  Gau- 
tier praised  in  the  most  exalted  terms  the  works  of  this  artist,  and 
compared  him  to  Delacroix,  Decamps,  and  Fromentin,  saying  at  the 
same  time  that  he  was  an  imitator  of  no  one.  The  following  is  a 
translation  of  a charming  letter  to  Schreyer  from  the  same  critic  : — 

“ M V DEAR  Schreyer,  — I came  with  Hert  and  Martinet  to  see  you.  Tou  are  gone  out, 
but  your  genius  remains  at  home.  We  have  admired  this  marvelous  picture  of  ‘ Chasse- 
Neige,’  — so  true,  so  iiicturesque,  so  dramatic.  I am  egotistic  enough  to  be  a good  judge 
in  this  matter.  I have  been  myself  enveloped  in  a snowy  whirlwind  near  Kowno,  and 
your  canvas  makes  me  shiver  ; I seem  to  be  still  in  Russia.  We  hope  that  you  will  be 
willing  to  send  this  masterpiece  to  our  exposition.  I dare  not  believe  in  such  a happi- 
ness. and  I thank  you  in  my  name  and  in  the  name  of  the  Societe  nationale  des  Beaux- 
Arts.  Your  admirer  and  President, 

“ Theophile  Gautier,” 

Schrcedter,  Adolf.  (Qer.)  Born  at  Schwedt  (1805  - 1875).  Mem- 
ber of  the  Academy  of  Berlin.  Professor  of  the  Polytechnic  School 
at  Carlsruhe.  Pupil  of  the  Diisseldorf  Academy.  His  pictures  were 
genre  subjects,  with  a comic  element,  such  as  scenes  from  “ Don 
Quixote,”  “Falstaff,”  etc.,  “The  Wine-Taster,”  “The  May  Tree,”  and 
others.  At  the  Wolfe  sale.  New  York,  1863,  “Falstaff  thrown  into 
the  Thames  ” sold  for  $ 975. 

Schulz,  Moiitz.  (Her.)  Born  in  Leobschiitz,  1825.  Honorary 


246  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Member  of  the  Pclj-technic  School  at  Eotterclam.  Studied  at  the 
Academy  of  Berlin.  Was  in  Rome  from  1854  to  ’70,  when  he  estab- 
lished himself  in  Berlin.  One  of  the  bas-reliefs  on  the  column  of 
Victory  is  by  Schulz,  and  he  has  executed  two  groups  illustrative 
of  Instruction  in  the  Arts,  which  are  in  the  National  Gallery  at  Ber- 
lin. At  Berlin,  in  1871,  he  exhibited  “Cupid  and  Psyche,”  “Love’s 
Dream,”  and  “ Rape  of  Ganymede”;  in  1876,  “ Night  as  a Charity” 
and  “ Bacchantes,  a Faun,  etc.” 

Schutzenberger,  Louis-Frederic.  {Fr.)  Born  at  Strasbourg. 
Chevalier  of  the  Legion  of  Honor.  Pupil  of  Gleyre.  At  the  Salon 
of  1877  he  exhibited,  “ The  Harvest,  — Souvenir  of  Italy  ” and  “ Diana 
at  the  Bath”;  in  1876,  a portrait  and  “Joan  of  Arc  hearing  her 
Voices”;  in  1875,  “The  Seven  Capital  Sins,”  “The  Flight  of  Nero,” 
and  “ A Marsh  in  the  Gombo  of  Pisa,”  etc.  At  the  Luxembourg  are 
“Terpsichore”  (1861)  and  “Centaurs  hunting  a Wild  Boar”  (1864). 

Schwarz,  Albert.  (Ger.)  Of  Berlin.  Medal  at  Philadelphia, 
where  he  exhibited  “ Broken  Flowers.” 

Schweinitz,  Rudolf.  (Ger.)  Bom  at  Charlottenburg,  1839. 
Studied  at  the  Berlin  Academy  under  Professor  Schievelbein.  In  1865 
he  visited  Paris  and  Italy,  and  has  also  traveled  in  the  North  of  Eu- 
rope. Among  his  works  are  the  Soldiers’  Monument  for  Gera,  eight 
colossal  groups  for  the  Royal  Bridge  at  Berlin,  monument  to  Frederick 
William  III.  at  Cologne,  nine  reliefs  for  the  balcony  of  the  Hotel  de 
Ville  at  Berlin,  and  a group,  the  “ Fine  Arts,”  in  the  National  Gallery 
of  that  city. 

Schwind,  Moritz  Ludwig  (Ritter  von).  (Ger.)  Born  at  Vienna 
(1804-1871).  Professor  at  the  Academy  of  Munich.  Pupil  of  Schnorr 
and  Cornelius.  This  painter  executed  many  fre.scos  which  brought 
him  reputation.  At  the  National  Gallery,  Berlin,  is  his  “ Rose,  a 
Wedding  Scene.”  At  the  Leipsic  Museum  is  a cartoon,  “ Symphony,” 
which  is  a representation  of  various  scenes  in  the  love  of  a young 
couple;  they  are  called  “Andante,”  “Allegretto,”  etc.,  like  parts  of  a 
symphony  in  music, — several  portraits  are  introduced.  Among  his 
other  works  are  scenes  from  “ Cinderella,”  the  “ War  of  the  Singers  at 
Wartburg,”  etc. 

“ That  original  and  genial  artist,  Maurice  von  Schwind  of  Munich,  has  just  exhibited 
his  last  completed  work,  — the  story  of  the  water-nymph  Slelusina.  Like  his  ‘ Cin- 
derella’ and  ‘The  Seven  Ravens,’  known  to  English  readers  by  the  fairy-tale  of  Ander- 
sen, the  drawing  is  in  water-color,  about  two  feet  high,  and  divided  into  a series  of 
compartments,  six  or  eight  or  more  feet  long.  Schwind’s  particular  taste  has  always 
led  him  to  choose  old  German  tales  of  fairy  or  of  folk  lore  for  the  subject  of  his 
Jiictures,  and,  so  completely  does  he  identify  himself  with  the  story,  that  all  those 

representations  of  his  are  surrounded  by  .an  atmosphere  wholly  their  own The 

delicacy  with  which  Herr  von  Schwind  manages  such  subjects  is  decidedly  a marked 
feature  in  all  his  compositions.  Yet  everything  is  natural,  and  seemingly  as  if  it  could 
not  possibly  have  been  otherwise,”  — Art  Journal,  5Iay  7,  1S70. 

“ Schwind  was  taken  away  from  all  other  interests  of  life  by  his  devotion  to  his  art. 
Art  permeated  his  whole  being,  and  he  ever  strove  for  perfection.  His  desire  to  create 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  247 


never  allowed  him  to  rest  His  poetic  conception  enabled  him  to  render  the  most 
ordinary  and  prosaic  scenes  attractive.  Schwind’s  peculiarity  can  only  be  comprehended 
by  seeing  his  representations  of  the  antique  and  of  old  German  art.  A rich  vein  of 
humor  runs  through  all  his  work.  There  is  and  has  been,  perhaps,  no  artist  to  whom 
the  entire  beauty  of  the  antique  has  been  more  fully  revealed,  but  while  he  has  been  so 
utterly  occupied  with  the  beauties  of  the  past,  he  seems  never  to  have  been  oblivious  to 
the  immense  gap  which  intervenes  between  the  old  and  the  new.  His  understanding  of 
modern,  in  contradistinction  to  classic,  art,  was  plainly  shown  by  Schwind  in  his  prac- 
tice of  his  art,  and  he  was  not  the  man  to  lessen  his  individuality  by  studying  and 
copying  the  old  masters  ; he  used  the  knowledge  gained  from  them  in  his  own  manner. 
So,  in  1833,  he  went  often  to  the  Sistine  and  observed  the  works  of  Michael  Angelo,  and 
then,  as  he  himself  said,  returned  home  to  go  on  with  his  Bitter  Kurt.  His  use  of 
Grecian  myths  was  not  incompatible  with  this,  for  he  copied  not  the  dead  academical 
fonns,  but  he  brought  them  down  to  the  minds  of  his  time  by  giving  them  the  warmth 
of  his  own  imagination.”  — Carl  Albert  Begnet,  Zeitschri/t  fiir  bildende  Kunst,  1872. 

Scifoni,  Anatolio.  (Ital.)  Of  Rome.  Meda]  at  Philadelphia, 
where  he  exhibited  “ Offerings  to  the  Lares  ” and  “ Preparations  for  a 
Feast  at  Pompeii,”  which  last  was  especially  commended  in  the  re- 
port of  Mr.  Weir. 

Scott,  Sir  George  Gilbert,  R.  A.  (Brit.)  (1811-1878.)  Son 
of  the  Bible  commentator.  Was  placed  at  an  early  age  in  an  archi- 
tect’s office,  and  designed  the  Martyrs’  Memorial  in  Oxford  in  1842. 
Later,  he  furnished  designs  for  churches  in  Camberwell,  Croydon, 
Leeds,  Liverpool,  Doncaster,  and  elsewhere.  In  1855  he  obtained  a 
medal  of  the  second  class  for  designs  exhibited  in  the  Paris  Exposition 
of  that  year.  In  1861  he  was  elected  Academician  of  the  Royal 
Academy  in  London,  sending  “ Views  illustrative  of  Gothic  Designs 
of  Government  Offices.”  His  drawings  of  the  Memorial  Window  to 
the  Prince  Consort  for  the  Chapel  Royal,  Windsor,  were  at  the  Royal 
Academy  in  1862  ; view  of  the  New  Leeds  Infirmary,  in  1863  ; the 
Midland  Railway  terminus  and  hotel,  in  1865  ; a new  building  for 
the  University  of  Glasgow,  in  1869.  In  1873  he  received  the  honor 
of  Knighthood,  contributing  the  same  year,  to  the  Royal  Academy, 
designs  for  the  Cathedral  of  St.  Mary’s,  Edinburgh.  In  1875  he  ex- 
hibited Premiated  Designs  for  the  new  German  Parliament  House, 
prepared  in  conjunction  with  his  son,  J.  0.  Scott. 

“Scott’s  merit  as  a designer  lies  rather  in  the  whole  than  in  the  details.  Carefully 
and  correctly  drawn,  the  main  outlines  of  his  more  important  buildings  are  sometimes 
satisfactory.  But  a nearer  approach  reveals  that  the  ornament  is  cold  and  unimagina- 
tive ; compared  with  what  the  higher  Gothic  demands,  it  is  dead  decoration.”  — Pal- 
grave’s  Essays  on  Art. 

Scott,  Julian,  A.  N.  A.  (Am.)  Born  in  the  State  of  Vermont. 
During  the  American  Civil  War  he  was  attached  to  a Vermont 
regiment,  where  his  rough  charcoal  sketches  of  war-scenes  attracted 
the  attention  of  art-lovers  in  the  army.  He  opened  a studio  in  New 
York  at  the  close  of  the  war,  and  began  to  exhibit  at  the  National 
Academy  in  1870,  sending  “ Gen.  0.  B.  Wilcox  in  Libby  Prison  ” 
(belonging  to  William  T.  Blodgett)  and  “The  Rear-Guard  at  White 
Oak  Swamp  ” (the  property  of  the  Union  League  Club).  He  was 


248  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


elected  an  Associate  of  the  National  Academy  in  1871.  In  1873  he 
exhibited  “ Complacency  ” (belonging  to  William  E.  Dodge,  Jr.)  ; in 
1874,  “Prison  Life”  (belonging  to  John  Rogers),  “Near  the  Out- 
posts” (belonging  to  Judge  J.  R.  Brady),  “Cavalry  Charge  near 
Ashby’s  Ga]),  Va.,  in  1862  ” (to  Col.  Joel  B.  Erhardt),  and  “ On  Board 
the  Hartford”  (belonging  to  Loyall  Farragut)  ; in  1875,  “Old  Rec- 
ords” (belonging  to  William  E.  Dodge)  ; in  1876,  “The  Duel  of  Burr 
and  Hamilton  ” and  “ The  Capture  of  Andre  ” (belonging  to  J.  Abner 
Harper),  and  “ A Camp  Raid”  (the  property  of  Fletcher  Harper,  Jr.) ; 
in  1877,  “Reserves  awaiting  Orders”  (belonging  to  R.  B.  Livermore); 
in  1878,  “Meditation”  (belonging  to  J.  W.  Casilear)  and  “Poke  o’ 
Moonshine.”  To  the  Water-Color  Exhibition  he  has  sent  “ Changing 
Guard,  1776,”  “New  England  Turkey-Shoot  ” (belonging  to  N.  T. 
Bailey),  and  “On  Guard,  1861.” 

[No  response  to  circular.] 

Seel,  Adolf.  (Ger.)  Born  at  Wiesbaden,  1829.  Member  of  the 
Royal  Society  of  Water-Color  Artists  of  Belgium.  Studied  at  Diissel- 
dorf  Academy,  and  was  a disciple  of  K.  Sohn.  Resided  in  Paris  for 
two  years,  and  passed  two  other  years  in  Italy  ; traveled  also  in  Spain, 
Portugal,  Africa,  and  the  Orient.  On  these  joirmeys  he  made  many 
sketches.  At  the  National  Gallerj',  Berlin,  is  his  “Arabian  Court- 
Yard  in  Cairo,”  which  was  sent  to  the  Paris  Expo.sition  of  1878. 

S4gd,  Alexandre.  (Fr.)  Born  at  Paris.  Chevalier  of  the  Legion 
of  Honor.  Pupil  of  Flers  and  Cogniet.  Painter  of  landscapes.  His 
“Oaks  of  Kertregonnec”  is  in  the  Luxembourg.  To  the  Salon  of 
1878  he  sent  “The  Green  Road”  (Seine  et  Marne),  belonging  to 
M.  HedG 

Seiffert,  Karl  Friedrich.  (Ger.)  Bom  in  1809.  Pupil  of  the 
Berlin  Academy  and  of  Biermann.  He  paints  landscapes  and  por- 
traits. He  has  spent  some  time  in  Italy,  but  lives  now  in  Berlin. 
His  picture  of  the  “ Blue  Grotto  of  Capri  ” is  in  the  Beilin  Natior.;J 
Gallery. 

Seisser,  Martin  B.  (Am.)  Born  in  Pittsburg,  Pa.,  1845.  He 
went  to  Europe  in  1868,  studying  under  Carl  Otto  in  ^Munich.  In 
1869  he  entered  the  Royal  Academy  of  Bavari.a,  receiving  corrections 
from  Piloty,  Schwind,  and  others.  He  remained  in  Munich  until 
1871,  when  he  returned  to  Pittsburg,  where  his  professional  life  has 
since  been  spent.  Among  his  works  are  portraits  of  Francis  Mur- 
phy, Rev.  Carl  Lorch,  Col.  Henry  Hays,  and  others  ; and  a picture 
entitled  “ The  Crusaders,”  painted  in  1875,  which  was  stolen  in  1878 
at  an  auction  sale  in  Philadelphia. 

Sell,  Christian.  (Dane.)  Born  at  Altona,  1831.  Studied  at  Diis- 
seldorf  Academy.  He  is  a disciple  of  Th.  Hildebrandt  and  M . von 
Schadow.  Traveled  in  Gennany  and  Belgium,  and  followed  the 
Prussian  army  in  the  wars  of  1866  and  ’70.  Paints  military  genre 
subjects  and  scenes  from  the  older  German  wai-s.  In  the  National 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  249 


Gfallery  at  Berlin,  is  his  “ Scene  at  the  Battle  of  Koniggratz.”  At  the 
Leipsic  Museum  is  his  “Soldiers  in  the  Thirty-Years’  War  dividing 
Booty.” 

Sellier,  Charles  Auguste.  (Fr.)  Born  at  Nancy.  Prix  de  Rome 
in  1857.  Medals  in  1865  and  ’72.  Pupil  of  Lehorne  and  Cogniet. 
At  the  Salon  of  1875  he  exhibited  “The  Return  of  the  Mendicant 
Friar”  and  “Christ  in  the  Tomb”;  in  1872,  “A  Nereid.”  This 
artist  paints  many  portraits,  two  of  which  were  at  the  Salon  of  1878. 

Sellstedt,  Lars  Gustaf,  N.  A.  (Am.)  Bom  in  Sweden,  1819. 
Began  life  as  a sailor,  following  the  sea  for  some  years.  In  1842  he 
settled  in  Buffalo,  N.  Y.,  where  the  better  part  of  his  professional  life 
has  been  spent.  Here  he  began  to  study  art  without  a master,  and 
made  portraiture  his  specialty.  In  1846  he  met  Thomas  Le  Clear,  and 
profited  much  by  the  association.  In  1858  he  began  to  exhibit  in  the 
National  Academy,  New  York.  In  1859  he  sent  the  head  of  a Jewish 
Rabbi,  which  attracted  some  attention.  In  1871,  when  he  was  elected 
an  Associate  of  the  National  Academy,  he  contributed  his  own  por- 
trait, which  is  now  owned  by  the  Buffalo  Fine  Art  Academy.  He 
exhibited  a portrait  of  William  G.  Fargo  in  1874,  and  was  elected 
Academician.  From  1862  to  ’76  he  was  Corresponding  Secretary  and 
Superintendent  of  the  Buffalo  Fine  Art  Academy,  an  institution  which, 
with  Le  Clear,  William  H.  Beard,  and  others,  he  was  instrumental 
in  founding.  He  was  its  President  in  1876  and  ’77,  and,  from  prefer- 
ence became  again  its  Superintendent  in  1878.  Among  Mr.  Sellstedt’s 
portraits  may  be  mentioned  those  of  Judge  VerplanckandMrs.  Fargo 
(belonging  to  William  G.  Fargo),  Millard  Fillmore  (belonging  to  the 
Buffalo  Club),  E.  G.  Spaulding  and  wife,  Dr.  William  Shelton,  George 
W.  Clinton,  LL.  D.,  in  the  Natural  Science  Rooms,  Buffalo,  and 
others,  including  eleven  “ kit  kat  ” portraits  of  distinguished  citizens 
of  Buffalo, — mayors,  judges,  lawyers,  etc.,  in  the  City  Hall  of  that 
city.  His  “ Abandoned,”  a marine  picture,  is  in  the  possession  of 
David  Gray  of  Buffalo,  and  other  genre  and  marine  pictures  of  more 
or  less  importance  are  owned  in  Buffalo  and  elsewhere. 

“One  of  the  very  test  portraits  of  the  year  is  that  of  Mr.  L.  G.  Sellstedt.  painted  by 
himself.  It  is  not  possible  to  conceive  a more  unaffected  piece  of  realism.”  — New  York 
Tnbune,  April,  1871. 

“ The  half-length  of  an  artist  — probably  himself — by  Mr.  Sellstedt  of  Buffalo,  turn- 
ing from  his  easel  to  speak  to  a friend  or  to  look  at  a sitter,  is  the  finest  portrait  in  this 
year’s  Exhibition ; gravely  strong  in  color,  while  the  head  is  painted  with  wonderful 
roundness  and  reality. ’’  — New  York  Leader,  April,  1871. 

Semper,  Gottfried.  (Ger.)  Born  at  Hamburg,  1804.  Professor 
of  the  Academy  at  Dresden.  Member  of  the  Academy  of  Marlborough 
House.  Professor  of  Architecture  at  Zurich.  Medal  at  Paris,  1867. 
This  architect  studied  at  Munich  and  Paris,  and  visited  Italy,  Sicily, 
and  Greece.  He  acquired  at  Dresden  a great  reputation  as  an  instruc- 
tor, and  was  charged  with  the  decoration  of  the  antique  cabinet  of  the 
Royal  Museum.  He  also  superintended  the  construction  of  the  Hos- 


250  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


pital  of  the  Ladies  of  Saint- Matemite,  and  in  1839,  by  order  of  the 
King,  constructed  the  new  theater,  which  proved  a great  success.  He 
was  also  architect  of  the  new  synagogue,  the  Villa  Oppenheim,  and 
the  new  Royal  Museum,  commenced  in  1847,  which  he  conducted 
only  to  the  first  floor.  It  was  finished  after  his  designs,  with  the  ex- 
ception of  the  citpola.  He  reconstructed  the  church  of  St.  Nicolas 
at  Hamburg.  On  account  of  political  troubles  he  left  Germany  for 
England  in  1848,  and  soon  became  a member  of  the  Academy  of 
Marlborough  House.  In  1856  he  was  called  to  Zurich,  where  he  has 
been  Professor  of  Architecture  and  Director  of  the  School  of  Archi- 
tecture of  the  Polytechnic  Academy  of  the  Confederation.  Semper 
has  written  some  valuable  works  on  architecture  and  kindred  subjects. 

Settegast,  Josef.  {Ger.)  Bom  at  Coblenz,  1813.  Studied  in  Diis- 
seldorf  and  Frankfort,  and  went  to  Rome.  Upon  his  return  to  Ger- 
many he  executed  frescos  in  the  Maximilian  Church  at  Diisseldorf, 
which  established  his  reputation  as  a painter. 

Shalders,  George.  (Brit.)  (1825-1873.)  Landscape-painter. 
He  introduced  animals  into  his  pictures,  and  executed  many  pictures 
of  the  scenery  of  Surrey  and  Hampshire,  besides  views  in  Ireland. 

Shapleigh,  F.  H.  (Am.)  Born  in  Boston,  1842.  He  has  spent 
his  professional  life  in  his  native  city,  and  was  elected  a member  of 
the  Boston  Art  Club  in  1874,  but  received  his  art  education  in  the 
studio  of  Lambinet  in  Paris.  A landscape-painter.  Among  his  more 
important  pictures  are,  “ Venice  ” (belonging  to  A.  F.  Harvey,  Boston), 
French  landscape  (belonging  to  J.  C.  Howe),  “ Cathedral  Rocks  ” (to 
C.  0.  Foster),  “ Mount  Washington  ” (to  W.  F.  Robinson),  “ Yo- 
semite  Valley”  (in  the  possession  of  Henry  C.  Bacon,  San  Francisco), 
“ Mirror  Lake  ” (owned  by  David  Dudley  Field,  New  York),  “ Co- 
hasset  Harbor  ” (oumed  by  klartin  Bates),  etc. 

“ Shapleigh  is  engaged  on  a winter  subject,  already  nearly  finished,  the  composition 

of  which  is  novel  and  decidedly  pleasing The  snow  is  represented  with  great 

fidelity,  and  the  cold  atmosphere  of  winter,  the  dark  and  brittle  foliage,  and  so  forth, 
are  also  rendered  capitally.”  — Boston  Post,  March  14,  1S78. 

Shattuck,  Aaron  D.,  N.  A.  (Am.)  Born  in  the  State  of  New 
Hampshire,  in  1832.  In  1850  he  entered  the  studio  of  Alexander 
Ransom  in  Boston,  and  painted  portraits.  Later,  he  becjmie  a pupil 
of  the  National  Academy  of  New  York,  settling  finally  in  that  city. 
He  first  exhibited,  at  the  National  Academy  in  1856,  a study  of  wild- 
flowers  and  grasses.  In  1861  he  was  elected  Academician.  Among 
his  earlier  works  are,  “ Glimpses  of  Lake  Champlain,”  “ Autumnal 
View  of  Androscoggin  Scenery,”  “ Sunset  on  the  Lake,”  and  others. 
In  1869  he  sent  to  the  National  Academy,  “ Hillside,  Lake  Cham- 
plain” and  “ Morning  Light”  ; in  1870,  “ Lake  Champlain”  and  ‘‘-4. 
Study  of  Rocks”  ; in  1871,  “The  New  England  Farm”  and  “A 
Group  of  Sheep”;  in  1872,  “White  Hills  in  October”  ; in  1873, 
“Sheep”  ; in  1874,  “Sheep  and  Cattle  in  Landscape”  (belonging  to 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  251 


J.  H.  Sherwood);  in  1875,  “The  Old  Homestead”  and  “Haying- 
Time  ” ; in  1876,  “ The  Road  to  Simsbury,  Ct.”  and  “ Autumn  near 
Stockbridge,  Mass.”;  in  1877,  “ Granbury  Pastures”  and  “Cattle 
Grazing.”  His  “ Stockbridge  Scenery  ” (25  by  42)  brought  $ 660  at 
the  Johnston  sale  in  1876. 

“ Sliattuck  is  exact,  graceful,  and  often  effective  ; there  is  a true  pastoral  vein  in  him. 
His  best  cattle  and  water  scenes,  with  meadows  and  trees,  are  eloquent  of  repose  and  of 
nature.”  — Tockerman’s  Book  of  the  Artists. 

Shaw,  Richard  Norman,  A.  R.  A.  {Brit.)  Student  of  the  Royal 
Academy.  Received  silver  medal  for  architectural  drawings  in  1852, 
gold  medal  in  1853,  and  traveling  studentship  in  1854.  He  has  fur- 
nished designs  for  many  public  and  private  buildings  throughout 
Great  Britain,  turning  his  attention  chiefly  to  country-houses.  He 
was  elected  an  Associate  of  the  Royal  Academy  in  1872,  and  Acad- 
emician in  1878. 

Shaw,  Annie  C.  (Am.)  Born  at  Troy,  N.  Y.,  1852.  She  has 
lived  for  some  years  in  Chicago,  studying  art  under  H.  C.  Ford  of 
that  city.  She  was  elected  an  Associate  of  the  Chicago  Academy  of 
Design  in  1873,  and  Academician  in  1876,  the  first  woman  upon 
whom  the  distinction  has  been  conferred.  Among  her  paintings  are, 
“ On  the  Calumet  ” (1874),  belonging  to  J.  H.  Dole  ; “ Willow  Island  ” 
(1875),  belonging  to  C.  L.  Hutchinson ; “ Keene  Valley,  N.  Y.” 
(1875),  to  A.  A.  Hunger  ; “ Ebb-Tide  on  the  Coast  of  Maine”  (1876), 
to  William  Butterfield;  “Head  of  a Jersey  Bull”  (1877),  to  Mrs. 
Jenny  F.  Kempton  ; “ Returning  from  the  Fair  ” (1878),  exhibited  in 
Chicago,  Boston,  New  York,  and  elsewhere.  Her  “ Illinois  Prairie  ” 
was  at  the  Centennial  Exhibition  at  Philadelphia  in  1876. 

“ Annie  C.  Shaw  has  steadily  advanced  in  the  profession,  and  has  achieved  decided 
success  in  painting  landscapes,  having  studied  from  nature  in  successive  summers  at 
Mackinac,  the  Adirondacks,  the  Bock  Eiver  region,  the  coast  of  Maine,  and  in  the  quiet 

nooks  of  Massachusetts Her  latest  painting  is  a study  from  life  of  an  Alderney 

bull,  which  is  a marked  departure  from  her  previous  attempts,  and  is  faithful  to  nature. 
It  is  a bold,  strong  picture,  good  in  form,  and  filled  with  vigorous  characteristics  of 
animal  life.”  — Milwaukee  Evening  Wisconsin,  1877. 

” Annie  C.  Shaw  has  finished  her  upright  landscape,  of  medium  size,  combining  tlie 
best  results  of  her  studies  for  many  years.  It  hears  the  title  ‘ Returning  from  the  Fair,’ 
from  the  group  of  Alderney  cattle  in  the  road  curving  through  the  forest.  The  eye  of 
the  spectator  is  struck  with  the  rich  mass  of  foliage  passing  from  the  light  green  of  the 
birches  in  the  foreground,  wliere  the  liglit  breaks  tlirough,  to  the  dark  green  of  the  dense 
forest,  shading  into  the  brownish  tints  of  the  early  September-tinged  leaves.  Farther 
on,  the  eye  is  carried  back  through  a beautiful  vista  formed  by  the  road  leading  through 
the  center  of  the  picture,  giving  a fine  perspective  and  distance  through  a leafy  archway 
of  elms  and  other  forest-trees,  that  gracefully  mingle  their  branches  overhead,  tlirough 
which  one  catches  a glimpse  of  deep-blue  sky.  As  tlie  eye  follows  this  roadway  to  its 
distant  portion,  the  sun  lights  up  the  sky,  tingeing  with  a mellow  light  the  group  of 
small  trees  and  willows,  contrasting  beautifully  with  the  almost  somber  tones  of  the 
dense  forest  in  the  middle  distance.”  ■ — Chicago  Times,  April,  1878. 

Shirlaw,  Walter.  (Am.)  Born  in  Paisley,  Scotland,  1837.  He 
was  taken  to  America  in  1840,  and  has  spent  his  professional 


252  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


life  in  Chicago,  Munich  (Bavaria),  and  New  York,  studying  in 
Munich  for  some  years  under  Professors  Eabh,  Wagner,  Bamberg, 
and  Lindenschmidi,  eminent  men  of  the  various  schools  there.  He 
was  elected  Academician  of  the  Chicago  Academy  of  Design  in  1868, 
Associate  of  the  National  Academy,  New  York,  in  1878,  and  is  at 
present  (1878)  a professor  in  the  Ait  Students’  League  in  the  latter 
city.  His  “ Toning  of  the  Bell,”  a number  of  “ Heads,”  and  minor 
works  are  owned  in  Chicago.  To  the  Society  of  American  Artists, 
of  which  he  was  one  of  the  original  members  and  first  President,  he 
sent,  in  1878,  “ Good  Morning,”  “ The  Young  Patrician,”  “ Sleep,” 
and  a study  of  a “ Head.”  To  the  National  Academy,  in  1877,  he 
sent  “ Sheep-Shearing  in  the  Bavarian  Highlands  ” ; in  1878,  “ The 
Bather  ” and  a portrait. 

His  “ Toning  of  the  Bell”  and  “ Feeding  the  Poultry  ” were  at  the 
Centennial  E.xhibition  in  Philadelphia  in  1876  ; “ Sheep-Shearing  in 
the  Bavarian  Highlands,”  at  the  Paris  Exposition  of  1878. 

“ Mr.  Shirlaw,  a student  of  ilunich,  exhibited  two  exceptionally  strong  and  admirable 
works,  evincing  remarkably  dexterous  jicwers  of  nmnipulation.”  — Prof.  Weir’s  Official 
Jieport  of  the  American  Centennial  Exhibition  of  1S76. 

Shumway,  Henry  C.,  N.  A.  (Am.)  Bom  in  Middletown,  Ct, 
1807.  He  settled  in  New  York  at  an  early  age,  and  during  his  long 
professional  career  has  been  a resident  of  that  city.  He  was  a stu- 
dent of  the  American  Academy  of  Fine  Arts  in  1828  and  ’29,  and 
one  of  the  early  members  of  the  National  Academy  of  Design,  having 
been  elected  Academician  in  1832.  In  1829  he  began  his  career  as 
an  artist  by  painting  on  ivory,  exhibiting  his  work  annually  at  the 
National  Academy  for  many  years.  As  a portrait-painter  he  was 
popular  and  successful,  and  has  numbered  among  his  sitters  many 
prominent  citizens  of  New  York  and  other  places.  In  1838  he 
was  commissioned  to  go  to  Washington,  D.  C.,  to  paint  Henry  Clay, 
the  picture  being  owned  at  present  by  Mrs.  Gideon  Lee  of  New 
York. 

Shurtleff,  R.  M.  (Am.)  Born  at  Rindge,  N.  H.  After  studying 
drawing  at  the  Lowell  Institute,  Boston,  and  at  the  National  Acad- 
emy, New  York,  he  settled  in  the  latter  city,  where  most  of  his  pro- 
fessional life  has  been  spent.  Among  his  pictures  are,  “ A Race  for 
Life,”  “The  American  Panther,”  “ The  Still  Hunter”  (belonging  to 
George  Dwight,  Jr.,  of  Springfield,  Mass.),  and  the  “ Wolf  at  the 
Door,”  owned  in  Utica,  N.  Y. 

“ ' A Race  for  Life  ’ [N.  A- , 1877]  is  the  most  remarkable  animal  picture  in  the  Exhibi- 
tion. It  will  surprise  every  one  who  overlooked  the  artist’s  ‘ Pantlier  ’ of  last  year, 
and  who  only  remember  him  by  his  landscapes.  Scene  and  subject  are  equally  grim 
and  terrific.  A weird  winter  forest ; gleams  of  a coppery  sunset  burning  low  behind  the 
trees ; prints  of  flying  feet  on  the  crisp,  livid  snow  ; and  a horde  of  ravenous  gray  wolves 
dashing  forward  in  an  animal  frenzy  of  pursuit,  the  foremost  seeming  to  spring  bodily 

from  the  canvas The  open,  slavering  mouths,  the  swift  vigor  of  the  legs  and 

paws,  the  hair  bristling  into  knotty  points  and  rising  along  the  back,  are  all  repre- 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  253 


sented  with  a i)ower  which  makes  the  spectator’s  flesli  creep.  It  is  rather  a ghastly  siil)- 
ject  which  Mr.  Shurtleff  has  chosen,  but  he  has  succeeded  in  giving  it  tlie  necessary 
tragic  dignity.”  — New  York  Tribune,  April  28,  1S7S. 

“Mr.  Shurtleff  has  executed  a grimly  humorous  i)aiuting,  ‘The  Wolf  at  the  Door,* 
representing  an  open  studio  door,  with  tlie  easel  and  liand  of  the  artist  Just  dimly 
visible  within,  and  hungrily  waitiJig  outside  a lone  gaunt  wolf,  evidently  just  at  the  point 
of  starvation  or  he  would  not  call  at  that  unpromising  abode.”  — Springfield  Republican, 

Siegert,  August.  (Ger.)  Bom  at  Neiiwied,  1820.  Studied  at 
Diisseldorf  and  paints  historical  subjects,  among  which  are,  “ The 
Entrance  of  Luther  into  Worms,”  “Frederick  defending  his  Son 
pressed  upon  by  the  Soldiers  of  the  Emperor,”  etc.  He  also  paints 
genre  scenes,  such  as  “ Hospitality,”  “ Children  in  an  Artist’s  Studio,” 
and  “ The  Service  of  Love,”  in  the  Museum  of  Hamburg. 

Siemiradsky,  Henri.  (Pole.)  Born  at  Kharkow,  1843.  Gold 
medal  at  St.  Petersburg.  Medal  at  Philadelphia.  Pupil  of  the 
Academy  of  St.  Petersburg.  Prix  de  Rome.  His  picture  of  “ The 
Confidence  of  Alexander  the  Great  in  his  Physician  ” (1870)  attracted 
much  attention.  At  Philadelphia  he  exhibited  “ The  Amulet  Seller.” 
His  picture  of  “ The  Christians  burning  for  Torches  before  Hero  ” 
excited  an  unusual  interest  in  Rome.  It  combines  remarkable  effects 
of  magnificence  and  horror.  The  architecture,  the  pomp  of  the  Em- 
peror with  his  Empress,  courtiers,  and  attendants,  would  well  befit  a 
scene  of  peace  and  happiness.  But  the  horrible  effect  of  placing  in 
the  midst  of  all  this  splendor  these  Christian  martyrs,  bound  and 
ready  for  the  burning,  with  the  executioners  waiting  to  apply  the 
torches,  can  only  be  realized  in  seeing  it  ; for  so  well  is  the  reality 
made  to  appear  in  this  picture,  that  one  feels  by  turns  horror  and 
pity,  as  fully  as  if  in  a life  scene  of  the  same  character.  The  wonder 
is  great  that  so  young  an  artist  could  have  grasped  the  thought  or  its 
execution.  This  picture  is  to  be  permanently  in  St.  Petersburg. 

To  the  Paris  Exposition  (1878)  he  sent  the  above-described  picture, 
“ The  Cup  or  the  Woman,”  and  “ The  Shipwrecked  Beggar.” 

Signol,  Emile.  (Fr.)  Born  at  Paris,  1804.  Member  of  the  In- 
stitute, and  Officer  of  the  Legion  of  Honor.  Pupil  of  Blondel,  Gros, 
and  r^Icole  des  Beaux-Arts.  He  gained  the  p?-r.x  de  Rome  in  1830. 
His  picture  of  “The  Adulteress”  (1840)  is  at  the  Luxembourg,  and 
gained  much  fame  for  the  artist  by  reproductions  in  engraving  which 
are  widely  known.  Several  works  by  this  master  are  at  Versailles. 
His  “ Death  of  Sappliira  ” is  at  the  Madeleine.  He  has  executed  much 
decorative  work  in  other  churches  of  Paris,  the  last  of  which  was 
that  of  Saint-Augustin.  He  has  also  painted  many  portraits. 

Silva,  Francis  A.  (Am.)  Born  in  Nesv  York,  1835.  He  in- 
herited his  taste  for  art  from  his  grandfather.  Col.  Francois  Jean  of 
the  French  army,  who  was  exiled  during  the  first  Revolution,  went 
to  Lisbon,  devoted  himself  to  his  brush,  and  became  Painter  to  the 
Spanish  Court  Young  Silva,  whose  father  opposed  his  studying  art, 
after  trying  several  trades,  was  finally  apprenticed  to  a sign-painter  in 


254  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


New  York,  remaining  nntil  the  outbreak  of  the  Civil  War.  He  served 
in  the  army  as  an  officer  until  1866,  when  he  returned  to  his  native 
city.  In  1868  he  began  his  professional  career  as  an  artist.  He  is 
entirely  self-taught.  He  was  elected  a ^Member  of  the  Water-Color 
Society  in  1872,  of  the  Artists’  Fund  Society  in  1873.  He  devotes 
himself  particularly  to  marine  views.  Among  his  more  important 
works  are,  “ Moonrise  ” (belonging  to  Eugene  Van  Eensselaer),  “ On 
the  Hudson”  (to  Dr.  Judson  of  St.  Petersburg,  Russia),  “Sunrise  in 
Boston  Harbor  ” (to  H.  P.  Cooper),  “ A Gray  Day  at  Cape  Ann  ” (to 
R.  G.  Dun),  “Bass  Rocks”  (to  George  C.  Waldo),  “Sunset  on  the 
Coast”  and  “Moonrise,  Hudson  River”  (to  J.  A.  Jameson),  “New 
London  Light”  (to  Cortlandt  Palmer),  “ The  Twilight  Hour”  (to 
Jackson  Schultz),  “Hudson  River”  (to  Cyrus  Butler),  “The  Yacht 
Magic  ” (to  W.  T.  Garner),  and  “ iloonlight  on  the  Chesapeake  ” (to 
ML  J.  Best). 

Simart,  Pierre  Charles.  {Fr.)  Bom  at  Troyes  (1806  - 1857). 
Member  of  tlie  Institute.  He  wished  to  be  a sculptor  from  his  earli- 
est years  ; but  he  met  with  positive  persecution  from  his  family  on 
account  of  this  desire,  and  at  seventeen  be  went  to  Paris  with  a pen- 
sion of  only  300  b ancs  a year  from  his  native  city.  It  is  easy  to  see 
that  on  this  sum  he  could  only  live  in  misery,  and  his  trials  had  such 
an  effect  on  him  that  one  of  his  friends  says  of  him,  that  he  entered 
on  life  with  a broken  heart.  He  was  always  a prey  to  intense  sad- 
ness, as  may  be  seen  from  his  letters  (Jitude  sur  sa  vie  et  son  oeuvre 
par  M.  Gustave  Eyries).  In  1833  Simart  obtained  the  grand  prix  de 
Rome,  and  went  there  at  about  the  same  time  as  Ingres,  who  replaced 
Horace  Vernet.  His  first  notable  work  was  the  “Disk-Thrower,” 
models  of  which,  in  plaster,  are  at  the  Louvre  and  at  the  Museum  of 
Troyes.  His  “ Orestes  taking  Refuge  at  the  Altar  of  Pallas  ” was 
called  by  Ingres  the  most  beautiful  statue  of  modern  times.  It  was 
seen  at  the  Salon  of  1840.  The  plaster  model  is  at  the  chateau  of 
Vendreuve,  and  the  marble  is  at  the  Museum  of  Rouen.  He  next 
executed  two  bas-reliefs,  “ Sculpture  ” and  “ Architecture,”  which 
were  placed  on  the  right  wing  of  the  Hotel  de  Yille  at  Paris;  two 
large  figures,  “Justice”  and  “Abundance,”  attached  to  the  columns 
ot  the  Barriere  du  Trone;  the  bust  of  a Prince  of  the  House  of  Or- 
leans, at  Yersailles;  “Philosophy,”  a marble  statue  in  the  library  of 
the  Luxembourg ; a bust  of  M.  Jourdan  at  the  Museum  of  Troyes  ; 
and  “An  Angel  consoling  Tobias,”  belonging  to  Daguet,  a molder 
at  Paris.  All  these  works  were  executed  between  1840  and  ’43.  In 
1841  Simart  married,  and  from  that  time  his  life  was  happier.  He 
then  undertook  a “ Yirgin  and  Child  ” for  the  altar  of  the  Virgin  in 
the  Cathedral  of  Troyes.  It  is  now  in  its  place,  — a marble  group,  — 
both  figures  are  standing,  but  the  position  seems  to  separate  too  much 
the  mother  and  child  ; altogether,  it  is  not  satisfactory  in  sentiment. 
Simart  next  executed  the  bas-reliefs  for  the  chateau  of  the  Duke  de 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  255 


Luynes  at  Dampierre  ; they  are  among  his  best  works.  For  several 
years  previous  to  1857  he  was  occupied  with  the  decoration  of  the 
tomb  of  Napoleon  I.  at  the  Invalides,  and  the  ceiling  of  the  Salon 
Carre  at  the  Louvre.  These  works  are  not  likely  to  increase  his 
fame.  In  1857  he  composed  the  charming  group  of  “Art  demanding 
Inspiration  from  Poesy”  (in  marble),  in  the  Salle  du  Trone  at  the 
palace  of  the  Luxembourg.  This  was  completed  from  his  model  after 
his  death.  At  the  Museum  of  Troyes  is  a collection  of  models  from 
his  works. 

Simler,  Friedrich  Karl  Josef.  {Ger.)  Born  at  Hanau  (1801  - 
1872).  Studied  at  Munich.  Landscape  and  animal  painter.  He 
remained  some  time  at  Vienna,  and  traveled  in  Upper  Austria  and 
Styria  ; later,  in  France  and  Italy.  He  was  for  a time  at  Hanover, 
where  he  had  been  commissioned  to  paint  a number  of  portraits.  In 
1862  he  settled  at  Aschaffenburg.  At  the  National  Gallery,  Berlin, 
is  his  picture  of  a “ Wild  Bull.”  The  three  sons  of  Simler  all  studied 
art. 

Simmons,  William  Henry.  (Brit.)  Born  in  1811.  Received 
his  art  education  in  London,  and  gained  a medal  of  the  Society  of 
Arts  while  still  a young  man.  Among  the  more  important  of  Sim- 
mons’ plates  are,  “ The  Queen  in  the  Highlands,”  after  Landseer  ; 
“The  Marriage  of  the  Prince  of  Wales,”  after  Frith;  “A  Wee  Bit 
Fractious,”  “ His  Only  Pair,”  “ Daddy ’s  Coming,”  “The  Poor  Man’s 
Friend,”  “ Baith  Faither  and  Mither,”  and  others,  after  Thomas  Faed; 
“ Christ  and  his  Disciples  ” and  “ The  Light  of  the  World,”  after  Hol- 
man Hunt ; “ The  Proscribed  Royalist  ” and  “ Rosalind  and  Celia,” 
after  Millais  ; “ Not  Guilty,”  after  Abraham  Solomon  ; “ Both  Puz- 
zled” and  “ Steady,  Johnny  !”  after  Erskine  Nicol;  “ Luff  Boy,”  after 
Hook;  “Great  Expectations,”  after  Henry  Le  Jeune ; “The  Shep- 
herd of  Jerusalem,”  after  P.  R.  Morris  ; and  many  more. 

Simmons,  Franklin.  (Am.)  Born  in  Maine,  1841.  He  devoted 
his  leisure  time  as  a boy  to  drawing  and  painting,  and  finally  to  model- 
ing, executing  portrait  busts  as  soon  as  he  graduated  from  college. 
In  Washington,  during  the  Civil  War,  he  found  ample  employment 
in  the  cutting  of  busts  of  statesmen  and  soldiers,  and  the  execution  in 
bronze  of  several  statues  for  public  monuments.  He  settled  in  Rome 
about  1867.  Among  his  works  executed  there  are  the  statues  of  Roger 
Williams  and  Governor  King,  in  Washington  ; “ Jochebed,”  for  Mr. 
W.  S.  Appleton  ; “ Roger  Williams,”  in  bronze,  in  Providence,  R.  L, 
unveiled  in  1877  ; and  the  Naval  Monument  in  front  of  the  National 
Capitol. 

" The  general  expression  of  the  principal  figure  [Jochehed]  is  the  union  of  mental  ac- 
tivity with  external  repose.  This  is  well  contrasted  with  the  restless  playfulness  of  the 
smiling  boy,  Moses.  The  design  of  Jochebed’s  figure  would  almost  amount  to  grandeur 
were  not  its  simplicity  lessened  in  a degree  by  the  exuberance  of  the  drapery,  or  rather 
by  its  being  cut  up  into  numberless  folds.”  — Art  Journal,  October,  1S73. 

“ The  story  tells  itself  with  all-suftlcient  completeness,  but  the  merits  of  the  statue 


256  ARTISTS  OF  THE  NINETEENTU  CENTURY. 


r‘ Jochebed ’]  do  not  liy  any  means  exhaust  themselves  with  a satisfactory  exposition  of 
the  subject.  The  face  is  full  of  expression,  and  the  draperies,  while  broadly  massed, 
as  draperies  in  sculpture  always  should  be,  are  minutely  and  admirably  studied  in  a 
manner  that  is  suggestive  of  some  of  the  best  antique  work."  — Great  American  Sculptors. 

Simonetti,  Cavaliere  Attilio.  (Jtal.)  Born  at  Rome.  Profes- 
sor at  Naples.  Pupil  of  Fortuny.  At  the  Paris  Salon  of  1875  he 
e.vhihited  “ The  First  Fahle”  ; in  1876,  “After  the  Ball”  ; in  1878,  at 
the  Exposition,  “ Via  Giuseppe  Mancinelli,  at  Palazzolo.”  At  the 
Johnston  sale,  New  York,  1876,  his  “ Proclamation  in  Front  of  the 
Pantheon  ” (.32  by  63)  sold  for  $ 2,725. 

Simonsen,  Niels.  {Dane.)  Born  in  Copenhagen,  1807.  Mem- 
ber of  the  Academy  of  Copenhagen.  Studied  first  in  Copenhagen 
under  Professor  Lund.  Went  then  to  Munich.  He  traveled  in  Al- 
geria, and,  by  a picture  of  “ Lord  Byron’s  Corsair,”  won  considerable 
fame.  His  best  works  are  sea-views,  among  which  may  be  mentioned 
“ Fishermen  rescuing  a Ship  in  the  North  Sea.”  “ A Betrothal,  Swe- 
den ” may  be  commended  for  its  representation  of  national  customs. 

Simpson,  William.  {Brit.)  Bom  in  Glasgow.  He  commenced 
his  career  as  an  artist  in  his  native  city,  where  he  was  apprenticed  to 
a firm  of  lithographers.  Later,  he  removed  to  London,  entering  the 
employment  of  the  Messrs.  Day.  He  went  to  the  Crimea  in  1854,  and 
during  the  Russian  war  sent  home  sketches  which  were  published  in 
book  form.  He  was  in  India  in  1859,  and  has  visited  many  countries 
on  the  staff  of  the  Illustrated  London  News.  He  is  a member  of  the 
Royal  Geographical  Societj’’,  and  exhibits  occasionally  sketches  in 
water-colors,  as  yvell  as  in  black  and  white. 

Sinding,  Otto.  {Norwegian.)  ^ledal  at  Philadelphia,  where  he 
exhibited  “ Ruth  and  Boaz,”  which  Weir  pronounced  the  most  impor- 
tant work  in  the  exhibit  of  Norway,  and  says,  in  his  report,  “ This 
picture  is  a production  of  mature  art,  admirable  in  sentiment,  in 
breadth  and  freedom  of  execution,  and  fine  in  color.  The  figures  are 
thoroughly  well  drawn,  and  the  landscape  skillfully  rendered.” 

“ Otto  Sinding  is  a coast-painter  who  makes  one  actually  hear  the  roar  of  the  breakers 
ns  they  chase  each  other  in  tumultuous  masses,  and  lash  the  rocks  with  a power  that 
may  be  felt.”  — Benjamin’s  Contemporary  Art  in  Enrope. 

Skill,  F.  John.  {Brit.)  Contemporary  English  water-color  artist. 
Member  of  the  Institute,  living  in  London.  Devotes  himself  to  land- 
scape and  marine  views,  with  occasional  figure-pieces.  Among  his 
works  are,  “ Rising  Tide,”  “ By  the  Sea,”  “ A Shrimper,”  “ Thames 
Lock  in  June,”  “ Sheep,  South  Devon,”  “Little  Cow-Keeper,”  “ Her 
First  Ball,”  etc.  To  the  Paris  Exposition  he  contributed,  “ View  on 
the  Tiber  ” and  “ San  Lorenzo,  Genoa.” 

“The  tints  are  so  delicately  chosen,  are  so  skillfully  combined,  that  we  must  look 
upon  this  little  sketch  [F.  J.  Skill’s  ‘Sunrise  on  the  Grand  Canal.  Venice,*  1S75]  as 
equal  in  effect  to  anything  in  the  Exhibition.  It  is  conceived  and  executed  in  the  true 
spirit  of  water-color  art.”  — Art  Jovrnal,  February,  1S75. 

Skovgaard,  Peter  Christian.  {Dane.)  (1817-1876.)  Profes- 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  257 


sor  at  the  Academy  of  Copenhagen,  where  he  studied  and  won  medals. 
He  is  one  of  the  most  celebrated  landscape-painters  of  Denmark.  Few 
northern  artists  have  so  nearly  approached  Claude  Lorraine.  His 
drawing  is  better  than  his  color.  His  pictures  of  wood-scenes  and  of 
gently  flowing  streams  are  especially  good.  Several  of  his  best  works 
are  at  Christiansborg.  His  portraits  are  also  good.  Eight  of  his  Dan- 
ish landscapes  were  exhibited  at  the  Paris  Exposition  of  1878. 

Slingineyer,  Ernest.  {Belgian.)  Born  at  Loochristi,  1823.  Chev- 
alier of  the  Order  of  Leopold.  He  won  several  medals.  Pupil  of 
Wappers.  He  sent  to  the  Brussels  Exposition  of  1842  “ The  Avenger,” 
afterwards  seen  at  Paris  and  The  Hague,  and  sold  in  Cologne.  His 
“ Death  of  Classicus  ” was  purchased  by  the  King  of  Holland  ; the 
“ Death  of  Jacobsen,”  by  the  King  of  Belgium  ; “ Camoens,”  by  the 
King  of  Portugal.  He  has  painted  several  battle-pieces,  which  have 
been  much  praised.  Among  his  other  works  are,  “ The  Christian 
Martyr,”  “ An  Episode  of  St.  Bartholomew’s,”  and  “ The  Physician 
Vesalius  following  the  Army  of  Charles  V.,”  a chef-d’oeuvre,  now  at 
the  Museum  of  Brussels. 

Small,  William.  {Brit.)  Contemporary  English  landscape-artist, 
residing  in  London.  Member  of  the  Institute  of  Painters  in  Water- 
Colors.  Among  his  works  in  that  medium  are,  “ The  Fallen  Monarch,” 
“ Going  to  Market,”  “ Connemara,”  “ Early  Spring,”  “ The  Harvest- 
Field,”  “ The  Last  Offer,”  “ At  Hampstead,”  etc.  In  oil  he  has  ex- 
hibited of  late  years,  at  the  Royal  Academy,  “After  the  Storm,” 
“ The  Highland  Harvest-Home,”  and  others.  To  the  Paris  Expo- 
sition of  1878  he  sent  “ The  Wreck  ” (in  oil),  and  “ Beech-Trees  ” and 
“ Poplars  ” (in  water-colors). 

“ ‘ The  Wreck ' [R.  A.,  1876],  by  Wtlliani  Small,  is  a noble  specimen  of  grandly  painted 
seascape,  certainly  one  of  the  masterpieces  of  the  year.”  — Art  Journal,  July,  1876. 

Smart,  John.  {Brit.)  Born  in  Edinburgh.  Educated  in  his 
native  city,  spending  the  greater  part  of  his  professional  life  there.  A 
landscape-painter,  he  devotes  himself  particularly  to  the  wild  and 
barren  scenery  of  the  Highlands  of  Scotland,  frequently  introducing 
cattle  into  his  pictures.  For  some  years  Associate  of  the  Royal  Scot- 
tish Academy,  he  was  elected  Academician  in  1877.  Among  his  later 
works  may  be  noted,  “ Autumn,  Glen  Lyons,”  “ Drumharry,”  “ Head 
of  Glen  Ogle,”  “Hill  Frank,  — Clipping-Day,”  “A  Feeding  Storm,” 
“ In  the  Pass  of  Lyon,”  “ Far  from  the  Busy  World,”  “ When  Hill- 
taps  a ’ were  White,”  “ Halt  of  the  Herd,”  etc.,  exhibited  at  the  Royal 
Academy  and  the  Royal  Scottish  Academy.  His  “ Gloom  of  Glen 
Ogle”  was  at  the  Philadelphia  Exhibition  of  1876;  “Among  the 
Yellow  Corn,”  -at  Paris  in  1878. 

“ Perhaps  John  Smart  has  risen  more  rapidly  into  deserved  esteem  than  most  of  his 
compeers.  He  has  certainly  never  achieved  greater  success  than  in  ‘ The  First  of  Win- 
ter’s Snaws’  [R.  S.  A.,  1874].  The  chill  from  the  whitened  hillside  creeps  into  our 
blood,  and  we  feel  that  none  hut  a veritable  scion  of  canid  Caledonia  could  have  ex- 
pounded a theme  of  such  thoroughly  bleak  nationality.” — Art  Journal,  March,  1874. 

Q 


258  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Smillie,  James.  (Brit.-Am.')  Bom  at  Edinburgh,  1807.  When 
about  eleven  years  old  he  was  apprenticed  to  a silver-engraver.  This 
master  died  soon,  and  Smillie  was  for  a short  time  with  Edward 
Mitchell,  an  engraver  of  pictures.  When  he  was  less  than  fourteen  he 
was  taken  to  America.  His  father  and  brothers  established  them- 
selves as  jewelers  in  Quebec,  and  James  worked  for  them.  His  skill 
attracted  the  notice  of  Lord  Dalhousie,  who  gave  him  a passage  to 
London,  with  letters  of  introduction.  This  proved  an  injuiy,  for  the 
engravers  to  whom  he  applied  demanded  large  prices  for  his  instruc- 
tion, supposing  him  to  be  a protege  of  Lord  Dalhousie.  He  therefore 
went  to  Edinburgh,  and  remained  five  months  with  Andrew  AVilson, 
and  then  returned  to  Quebec.  He  went  to  New  York  City  in  1829, 
and  has  since  resided  there.  He  has  been  much  connected  with  bank- 
note engraving.  He  was  made  a member  of  the  National  Academy  in 
1851.  His  plate  of  “ The  Convent  Gate,”  after  R.  AV.  AA’eir,  first  at- 
tracted public  attention  to  his  work.  His  series  after  Cole’s  “ A^oyage 
of  Life  ” and  Bierstadt’s  “ Rocky  Mountains  ” are  too  well  known  to 
require  praise.  Among  his  best  plates  are,  “ The  Bay  and  Harbor  of 
New  York,”  after  John  J.  Chapman  ; “Dover  Plains,”  after  A.  B. 
Dur.and  ; “ Evening,  in  the  New  York  Highlands,”  after  AA^eir  ; 
“ Jlount  AVashington,  from  Conway  A'alley,”  after  John  F.  Kensett ; 
“ American  Harvesting,”  after  J.  F.  Cropsey  ; “ The  Land  of  the 
Cypress,”  after  D.  Huntingdon  ; etc. 

"James  Smillie,  conceded  to  be  the  best  landscape  engraver  in  America,  is  altogether 
a self-educated  man,  overcoming  every  obstacle  by  patient,  persistent  effort.  His  plates, 
the  most  imi>ortant  in  this  particular  branch  of  the  art  yet  produced  in  this  country, 
executed  with  great  taste  and  ability,  are  replete  with  fine  artistic  feeling,  and  are  truth- 
ful translations  of  the  originals.’*  — WT.  S.  Baker,  American  Engravers  and  their  IVorks. 

Smillie,  James  D.,  N.  A.  {Am.)  Born  in  New  York,  1833.  Son 
of  James  Smillie,  N.  A.,  by  whom  he  was  educated  as  an  engraver  on 
steel,  devoting  all  his  time  to  that  profession,  until  1864,  when  he 
turned  his  attention  to  dravdng  and  painting,  without,  however,  the 
benefit  of  schools  or  masters.  He  has  spent  his  professional  life  in  New 
York,  studying  also  among  the  great  mountain-ranges  of  the  United 
States,  the  Sierras,  the  Adirondacks,  the  Rocky,  AA'hite,  and  Catskill 
Mountains.  He  made  a short  visit  to  Europe  in  1862.  He  wixs  elected 
an  Associate  of  the  National  Academy  in  1868,  Academician  in  1876, 
and  member  of  the  Council  the  next  year.  He  was  one  of  the  original 
members  of  the  American  Society  of  Painters  in  AA^ater-Colors,  in 
1866,  was  its  first  Treasurer,  and  its  President  from  1873  to  ’78,  con- 
tributing regularly  to  its  exhibitions  as  well  as  to  those  of  the  Acad- 
emy of  Design.  Among  the  more  important  of  hi?  works  may  be 
mentioned,  “ Evening  among  the  Sierras  of  California  ” (owned  by 
S.  T.  AVniiams  of  New  York),  “ The  Lifting  of  the  Clouds,  AYhite 
Mountains”  (belonging  to  George  Hearne  of  New  York),  .and  “Dark 
against  Day’s  Golden  Death  ” (belonging  to  AA^iRiain  M.  Smillie  of 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  259 


New  York),  all  in  oil ; in  water,  “A  Scrub-Race  on  the  Western 
Prairies”  (owned  by  W.  Wilson  of  New  York)  and  “ The  Track  of 
the  Torrent,  Adirondacks  ” (in  the  collection  of  F.  W.  Lewis  of  Phila- 
delphia). “ The  Scrub-Race  ” and  “ A Study  from  Nature;  Ausable 
River”  were  at  the  Centennial  Exhibition  at  Philadelphia  in  1876. 
For  Appletons’  “Picturesque  America”  he  illustrated  “The  Saguenay,” 
and  furnished  the  letter-press  description  as  well  as  the  illustration  for 
the  article  on  the  Yosemite  in  the  same  work. 

“ In  the  coloring  the  tones  on  the  mountain  side,  in  shadow,  are  almost  opalescent  in 
effect,  and  are  brought  together  and  harmonized  in  the  most  artistic  way  [‘ Evening, 
High  Sierras,  Cal.,’  N.  A.,  1S76].’’  — Art  Journal,  June,  1870. 

Smillie,  George  H.,  A.  N.  A.  (Am.)  Born  in  the  city  of  New 
York,  1840.  Son  of  James  Smillie,  line-engraver,  and  younger  brother 
of  J.  D.  Smillie,  N.  A.  He  entered  the  studio  of  James  M.  Hart  at 
an  early  age,  spending  the  greater  part  of  his  professional  life  in  New 
York.  In  1871  he  made  a trip  to  the  Rocky  Mountains  and  the 
Yosemite  Valley  for  the  purpose  of  study  and  sketching,  and  in  1874 
he  visited  Florida.  He  was  elected  an  Associate  of  the  National  Acad- 
emy in  1864,  and  member  of  the  American  Water-Color  Society  in 
1868,  contributing  regularly  to  the  annual  exhibitions  of  both  insti- 
tutions. Among  his  more  important  works  are,  “ Boquet  River  and 
Hills  ” (N.  A.,  1869),  belonging  to  A.  Van  Valkenburg,  New  York  ; 
“Under  the  Pines  of  the  Yosemite”  (water-color,  1872),  owned  by 
James  Smillie  ; “ A Lake  in  the  Woods  ” (N.  A.,  1872),  the  property 
of  Touro  Robertson,  New  York  ; “ A Florida  Lagoon  ” (N.  A.,  1875), 
owned  in  Utica.  To  the  Centennial  Exhibition  he  sent  (in  oil)  his 
“ Lake  in  the  Woods  ” and  (in  water-color)  “ Sentinel  Rock,  Yosemite 
Valley  ” and  “ Study  on  the  Ausable  River,  N.  Y.” 

“ George  H.  Smillie’s  sketclies  do  infinite  credit  to  liim  in  tiieir  carefully  finished  exe- 
cution and  in  the  understanding  of  the  subject A certain  refinement  runs  through 

all  his  artistic  work,  no  matter  what  be  the  subject.  It  enhances  the  charm  of  his  more 
quiet  scenes,  and  modifies,  without  losing  the  character  of  bolder,  wilder  views.  His 
sketches  in  detail  show  a careful  study  which  form  most  promising  and  valuable  means 
for  important  works.”  — New  York  Herald,  November,  1870. 

“ There  is  a charming  ])icture  of  good  size  by  George  H.  Smillie,  ‘ Under  the  Pines  of 
the  Yjosemite.  ’ Two  large,  brown  pine  trunks  rise  about  thirty  or  forty  feet  to  the  to)i 

of  the  picture.  Indians  are  camping  beneath,  etc The  work  is  full  of  artistic 

skill  and  of  poetical  feeling,  and  gives  us  delightful  associations  with  this  romantic  and 
unexplored  region.”  — Atlantic  Monthly,  March,  1872. 

Smirke,  Sir  Robert,  R.  A.  {Brit.)  (1780-1867.)  Son  of  Rob- 
ert Smirke,  a prominent  painter  and  member  of  the  Royal  Academy. 
He  studied  architecture  in  Italy,  and  elsewhere  on  the  Continent,  and 
upon  his  return  to  England  was  employed  upon  the  British  Museum 
and  the  new  London  Post-Office.  He  designed  many  buildings  in 
Great  Britain,  public  and  private,  and  was  knighted  by  William  IV. 
in  1831.  He  was  elected  an  Associate  of  the  Royal  Academy  in  1813, 
Academician  in  1823,  and  for  many  years  was  Treasurer  to  the  Acad- 
emy, resigning  that  position  in  1850. 


260  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Smirke,  Sydney,  R.  A.  {Brit.)  Bom  in  the  early  part  of  the 
present  century.  Younger  brother  of  Sir  Robert  Smirke.  He  en- 
tered the  schools  of  the  Royal  Academy  as  a youth,  gaining  the  gold 
medal  in  1819.  In  1848  he  was  elected  an  Associate  of  the  Royal 
Academy,  Academician  in  1860,  Professor  of  Architecture  in  1861. 
Treasurer  in  1862,  Trustee  in  1867,  and  was  placed  upon  the  list  of 
Honorary  Retired  Academicians  in  1877.  Among  the  better  known 
of  the  London  buildings  designed  by  Sydney  Smirke  are  the  Carleton 
Club,  the  Conservative  Club,  the  Reading-Room  and  other  portions 
of  the  British  iluseuni,  and  the  new  Royal  Academy,  Burlington 
House,  completed  in  1874.  He  was  also  engaged  in  the  restoration  of 
the  Temple  Church,  London,  York  Minster,  Lichfield  Cathedral,  and 
many  fine  edifices  throughout  the  kingdom. 

Smith,  Colvin.  {Brit.)  (1793-  1875.)  Began  his  art  career  at 
an  eaily  age,  entering  the  schools  of  the  Royal  Academy  in  London, 
and  studying  and  painting  in  Italy.  He  settled  in  Edinburgh  in 
1827,  and  became  a member  of  the  Scottish  Academy  in  1829.  He 
exhibited  as  late  as  1871.  A portrait-painter,  having  many  of  his  dis- 
tinguished fellow-countrymen  for  his  subjects  ; among  these,  Macken- 
zie (“The  Man  of  Feeling”),  Jeffrey,  Sir  Walter  Scott,  and  others. 
His  portrait  of  Scott  was  verv'  successful,  has  been  engraved,  and  it  is 
said  that  over  twenty  copies  of  it  were  painted  by  the  artist,  for  many 
of  which  Sir  Walter  gave  sittings. 

Smith,  T.  L.,  A.  N.  A.  {Am.)  Born  in  Glasgow,  1825.  He  emi- 
grated to  America  at  an  early  age,  and  studied  for  a short  time  under 
George  H.  Boughton,  in  Albany,  N.  Y.  He  opened  a studio  in  that  city 
in  1859,  remaining  there  three  years.  In  1862  he  removed  to  Xew 
York,  where  the  rest  of  his  professional  life  has  been  spent.  He  has 
been  a frequent  contributor  to  the  exhibitions  of  the  National  Acad- 
emy, and  was  elected  an  Associate  of  that  institution  in  1870.  He 
began  his  career  as  a painter  of  winter  scenes,  with  a strong  lore  for 
the  season  itself,  and  has  devoted  himself  almost  exclusively  to  the 
delineation  of  landscapes  of  that  character,  with  marked  success. 
Among  his  more  important  works  are,  “ The  Homestead  in  M inter,”  at 
the  National  Academy  in  1871 ; “The  Grove  in  Winter,”  at  the  National 
Academy  in  1872  (owned  in  Albany,  N.  Y.,  by  Captain  Sweeney)  ; 
“ The  Deserted  House,”  at  the  National  Academy  in  1873  (now  in  the 
collection  of  W.  H.  Hamilton  of  New  York) ; “ The  Eve  of  St.  Agnes,” 
exhibited  at  the  Boston  Art  Club  in  1873  (nowin  the  Saville  Collection 
of  that  city)  ; and  “ Woods  in  Winter  ” and  “ Woods  in  Autumn,”  his 
two  largest  works,  belonging  to  J.  H.  White  of  Boston.  “ The  De- 
serted House  ” and  “ The  Eve  of  St.  Agnes  ” were  at  the  Centennial 
E.xhibition  at  Philadelphia  in  1876. 

" Mr.  Smith  paints,  conscientiously,  -winter  trees  and  snow,  a farmer’s  cosy  home,  out- 
buildings, and  wood-piles  : the  calm,  -warm  glow  of  a winter  sky  and  clouds,  tnily  and 
faithfully,  according  to  his  oum  mspiration The  merit  of  this  picture  [‘  Winter 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  261 


Ilomesteiicl  ’],  as  far  as  style  is  concerned,  is  the  art,  which  conceals  art,  an  individuality 
of  thought  and  expression  by  which  we  recognize  and  sympathize  with  a fresh  local  in- 
spiration from  nature.” — jVeu)  York  Evening  Post,  April,  1870. 

Smith,  George.  (Brit.)  Born  in  London,  1829.  He  entered  the 
schools  of  the  Eoyal  Academy  in  1845,  and  was  also  for  some  time  a 
pupil  of  Cope.  He  first  exhibited  at  the  Koyal  Academy  about  1850, 
and  regularly  since.  Among  his  early  works  are,  “ The  Launch  ” and 
“ The  Bird-Trap.”  In  1861  he  exhibited  “ The  Seven  Ages  in  1862, 
“ Searching  for  the  Well”;  in  1864,  “ Beware  of  the  Dog  in  1865, 
“Light  and  Diirkness”;  in  1867,  “The  Valentine”;  in  1869,  “A 
Game  of  Speculation  ”;  in  1870,  “ In  the  Study  ”;  in  1872,  “ Paying 
the  Legacies”;  in  1873,  “Who  comes  here  ?”;  in  1875,  “A  Scrap  of 
Nature  ”;  in  1876,  “ Out  in  the  Cold  World  ”;  in  1878,  “ The  Soldier’s 
Wife.” 

Smith,  A.  Cary.  (Am.)  Born  in  New  York,  1837.  He  studied 
under  M.  F.  H.  De  Haas,  and  has  spent  his  professional  life  in  his 
native  city,  devoting  himself  to  marine  views.  He  has  been  a frequent 
exhibitor  at  the  National  Academy  for  some  years,  sending,  in  1867, 
“ Off  Little  Gull  ”;  “ The  Yacht  Eva  ” (belonging  to  L.  L.  Lorillard), 
in  1868;  “ Sunrise,”  in  1869;  “The  Last  of  the  Old  Ship  ” and  “ Nor’- 
wester,  Coast  of  Maine,”  in  1871;  “Windy  Day,”  in  1876  ; “The 
Yacht  Dauntless”  (belonging  to  Philip  Schuyler),  in  1877  ; and 
“Perils  of  the  Sea,”  in  1878.  He  has  also  painted  the  yacht  “Co- 
lumbia,” for  Lester  Wallack;  the  “ Sappho,”  for  William  P.  Douglas; 
the  “ Wanderer,”  for  James  Stillman;  and  many  more. 

Smith,  F.  Hopkinson.  (Am.)  Born  in  Baltimore,  1838.  A self- 
educated  artist,  and  prominent  member  of  the  Water-Color  Society,  of 
which  he  was  elected  member  in  1871,  and  Treasurer  in  1873,  a posi- 
tion he  still  holds  (1878).  He  is  a constant  contributor  to  its  exhibi- 
tions, sending,  in  1871,  “ Summer  in  the  Woods,  White  Mountains”; 
in  1874,  “The  Old  Man  of  the  Mountains”;  in  1875,  “Overlook 
Falls”  and  “Walker’s  Falls,  Franconia  Notch,  N.  H.”;  in  1876,  “A 
Summer’s  Day”  and  “Grandfather’s  Home”;  in  1877,  “In  the 
Darkling  W^oods  ” (belonging  to  William D.  Irwin,  Chicago),"  Under 
the  Leaves”  (belonging  to  William  D.  Sloane,  New  York),  and  “ De- 
serted ” (the  property  of  Charles  F.  Havermeyer);  in  1878,  “ The  Old 
Smithy,”  “ Looking  Seaward,”  etc.  His  professional  life  has  been 
spent  in  New  York.  His  “Old  Cedars,  Franconia  Mountains”  and 
“In  the  Darkling  Wood”  were  at  the  Centennial  E.xhibition  of  1876. 
His  “ Profile  Notch  ” (in  charcoal)  is  in  the  collection  of  Samuel  V. 
Wright;  “A  Cool  Spot”  (in  water-color),  in  the  collection  of  John 
Jacob  Astor. 

” ‘Walker’s  Falls,  Franconia  Notch  ’ [N.  A.,  1875],  by  F.  Hopkinson  Smith,  is  remark- 
ably successful  in  the  delineation  of  the  falling  water  and  the  moss-covered  rocks  which 
line  the  ravine.  The  tree  foliage  is  fresh,  and  shows  some  clever  gradations  from  the 
dark  tones  in  shadow  to  the  topmost  branches,  which  are  under  the  influence  of  the 
noonday  sunlight.”  — Art  Journal,  March,  1875. 


262  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


“ Smith  belongs  much  to  the  same  set  of  landscapists  as  Bellows,  Durand,  and  in  cer- 
tain respects,  Bristol  and  Wliittredge  ; painters  who  represent  American  scenes  of  cheerful 
vegetation,  usually  under  bright  skies.  Mr.  Smith  is  succeeding  very  well  in  water- 
colors,  a branch  that  neither  of  the  other  men  we  have  named,  except  Bellows,  has 
affected  much : and  in  the  recent  Water-Color  Exhibition  of  the  Academy,  if  the  eye 
rested  upon  a clear  brook,  whose  clean  amber-colored  bed  reflected  green  forest-trees 
that  nodded  about  it ; or  if  the  visitor  espied  some  rustic  bridge  that  connected  two 
sides  of  a country  village,  with  gray-white  church-steeple  ; or  where  a couple  of  lovers 
reposed  upon  a bank  thick  grown  with  wild-flowers  — it  was  quite  probable  that  each  of 

them  was  piainted  by  this  artist Mr.  Smith’s  paintings  are  all  of  a summer-like 

character  ; and,  although  the  arrangement  of  his  compositions  is  sometimes  a little 
formal,  the  detailed  objects  are  well  handled  ; and  whether  it  be  rocks,  water,  or  wood- 
land glades,  all  indicate  a very  genuine  lover  of  Nature,  and  that  a hard  and  enthusias- 
tic student  is  diligently  seeking  to  transcribe  her  moods.”  — AH  Jourml,  March  11,  1S76. 

Smith,  Frank  Hill.  {Am.)  Born  in  Boston,  1841.  He  received 
his  early  training  in  the  schools  of  that  city,  and  studied  architecture 
there  with  Hammatt  Billings.  Later,  he  entered  the  Atelier  Suisse 
in  Paris,  and  was  also  a pupil  of  Bonnat,  and  other  masters  in  Paris 
and  Italy.  His  professional  life  has  been  spent  largely  abroad,  in 
Belgium,  Holland,  Italy,  the  interior  of  France,  and  four  or  five 
years  in  Paris.  For  some  time  he  has  been  a resident  of  Boston.  He 
was  a Judge  of  Fine  Arts  at  the  Philadelphia  Exliibition  of  1876, 
and  is  a Director  of  the  School  of  the  Boston  Museum  of  Fine  Arts. 
He  has  painted  portraits,  figure-pieces,  and  landscapes  ; and  his 
works  are  in  public  and  private  collections  in  Boston  and  elsewhere 
in  the  United  States.  “ Venice,”  one  of  the  most  important  of  his 
landscapes,  belongs  to  the  Boston  Somerset  Club  ; another  view  of 
“ Venice,”  to  Hon.  William  Claflin  of  Massachusetts.  Within  the 
last  two  years  Mr.  Smith  has  given  special  attention  to  fine  interior 
decoration,  his  study  and  observations  in  Europe  being  in  some  degree 
directed  with  a view  to  this  work.  He  made  many  drawings  and 
sketches  of  famous  Continental  interiors  which  he  brought  to  America. 
He  decorated  the  Windsor  Hotel  and  Opera  House,  Holyoke,  Mass., 
and  several  private  and  public  buildings  in  Boston  and  Cambridge. 
In  this  work  he  has  been  assisted  by  a large  corjis  of  artists  who  have 
had  more  or  less  training  under  him,  but  the  princijtal  part  of  the 
labor  he  has  performed  himself. 

“ Among  the  notable  pictures  .at  Doll  and  Richards’  .are  the  portraits  of  two  children, 
by  Frank  H.  Smith,  which  we  think  will  prove  more  generally  .attractive  th.an  such  pic- 
tures usually  do  : in,asmuch  .a.s,  besides  containing  excellent  likenesse.s  of  the  originals, 
it  is  a charmingly  arranged  and  painted  interior,  with  figures  such  as  any  lover  of  good 

pictures  might  enjoy Tlie  painting  of  these  .accessories  is  worthy  of  much  praise. 

The  characteristics  of  the  different  materials,  and  particularly  of  the  vase,  are  very 
skillfully  and  admirably  rendered,  while  the  values  of  color  and  tone  are  imanaged  with 
fine  artistic  skill  and  feeling.  Although  we  h.ave  spoken  first  of  the  painting  of  the 
accessories,  they  by  no  means  occupy  a place  of  undue  prominence,  but  are  subseivetl 
with  much  good  taste  and  forbe.arance  to  the  figures." — Boston  Tratiscript,  February  17, 
1S73. 

" Mr.  Smith  has  by  no  means  .ah.andoned  the  production  of  oil-paintings,  yet  much  of 
his  time  is  now  occupied  in  drawing  designs  for  the  adorning  of  the  walls  of  buildings. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  263 


both  public  and  private.  The  movement  that  lie  has  had  the  lionor  of  inaugurating  in  this 
city  is  now  moving  rapidly  on  to  success.  He  lias  recently  completed  the  drawing- 
rooms of  a residence  on  Commonwealth  Avenue,  giving  to  each  detail  a careful  treatment 
that  has  made  the  walls  veritable  works  of  art.”  — Boston  Post,  July  3,  1878. 

Smith,  William  Russell.  (Am.)  A native  of  Scotland.  He  wa.s 
taken  to  America  at  an  early  age  by  his  family,  who  settled  in  Pitts- 
burg, Pa.,  and  apprenticed  the  lad  to  Lambdin  in  Philadelphia, 
under  whom  he  learned  to  draw.  Eeturning  to  Pittsburg,  he  became 
a scene-painter  in  the  theater  there,  and  held  a similar  position  in  the 
Walnut  Street  Theater,  Philadelphia,  where  he  is  said  to  have  dis- 
played uncommon  proficiency  in  the  higher  kinds  of  scenic  art.  Sub- 
sequently he  became  painter  of  landscapes  of  a smaller  and  more 
elaborate  style  in  Philadelphia,  where  his  studio  still  is,  and  where 
his  pictures  are  highly  jjrized  and  many  of  them  owned.  His  “ Cave 
at  Chelton  Hills  ” was  at  the  Centennial  .Exhibition  of  1876. 

“ We  have  seldom  found  landscapes  more  cherished  by  tlieir  owners  or  more  enjoj'ed 
by  those  intimately  acquainted  witii  their  autlientic  cliarms  than  are  Russell  Smith’s. 
. ...  In  the  hajipiest  efforts  of  this  artist  we  find  the  fresh  and  free  impression  of  na- 
ture reproduced  with  singuiar  vitality.”  — Tuckerman’s  Book  of  the  Artists. 

Sohn,  Karl  Ferdinand.  (Ger.)  Born  at  Berlin  (1805-1867). 
Professor  at  the  Diisseldorf  Academy.  Studied  at  the  Berlin  Academy. 
In  1826  he  followed  Schadow  to  Diisseldorf.  In  1830  he  went  to  It- 
aly, and  afterwards  traveled  in  France,  Belgium,  and  Holland.  In  1832 
he  became  Professor  at  Diisseldorf,  where  he  takes  high  rank  among 
the  artists  of  that  school,  and  has  instructed  many  of  its  best  men. 
At  the  National  Gallery,  Berlin,  are  his  “ Lute- Players,”  “The  Eape 
of  Hylas,”  and  “ Portrait  of  a Woman.”  At  the  Leipsic  Museum  is 
his  “ Donna  Diana.”  Among  his  other  works  are,  “ The  Lorelei,” 
“Vanity,”  “The  Sisters,”  “Tasso  and  the  Two  Leonoras,”  “Eomeo 
and  Juiiet,”  “ The  Judgment  of  Paris,”  “ Diana  at  the  Bath  ” (a  clief- 
d’osuvre),  etc.  At  the  Johnston  sale.  New  York,  1876,  “ Diana  sur- 
prised by  Acteon  ” (28  by  23)  sold  for  $ 575. 

Solomon,  Abraham.  (Brit.)  Born  in  London  (1824-1862). 
He  entered  the  schools  of  the  Eoyal  Academy  at  the  age  of  fifteen, 
and  was  considered  a very  promising  pu])il.  His  first  work,  “ The 
Courtship  of  Ditchen  ” was  exhibited  at  the  Eoyal  Academy  in  1843, 
followed  by  others  in  a similar  vein.  His  best-known  pictures, 
which  have  become  popular  on  both  sides  of  the  Atlantic  by  means 
of  the  engravings  of  them,  are,  “Third  Class,  — the  Parting ’’and 
“ First  Class,  ■ — the  Eeturn,”  exhibited  in  1854  ; “ Waiting  for  the 
Verdict,”  in  1857  ; and  “ Not  Guilty,”  in  1859.  His  last  exhibited 
works  were,  “Le  malade  imaginaire  ” and  “ Consolation,”  in  1861  ; 
and  “ The  Lost,Found,”  in  1862,  the  year  of  his  death. 

Sonntag,  William  Louis,  N.  A.  (Am.)  Born  in  Western  Penn- 
sylvania, 1822.  His  profe.ssional  life  has  been  spent  in  Cincinnati, 
Ohio,  in  Italy,  where  he  studied  and  painted  for  some  time,  and  in  the 


264  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


city  of  New  York,  which  has  been  his  home  during  the  last  twenty 
years.  He  is  a member  of  the  Artists’  Fund  Society,  and  was  in 
1861  elected  a full  member  of  the  New  York  Academy  of  Desitm. 
As  an  artist  he  is  entirely  self-taught.  His  first  work  of  importance 
Avas  entitled  “The  Progress  of  Civilization,”  comprising  four  paint- 
ings ; his  second,  “ Alasror,  or  the  Spirit  of  Solitude,”  from  Shelley  ; 
his  third,  “ The  Eagle’s  Home,”  painted  for  Charles  M.  Stewart,  of 
Baltimore  ; his  fourth,  “ The  Dream  of  Italy,”  property  of  Mr. 
Dinsmore  of  New  York;  his  fifth,  “The  Spirit  of  the  Alleghanies,”  a 
large  canvas,  purchased  by  the  Marquis  of  Chandos,  now  Duke  of 
Buckingham  ; sixth,  “ A View  of  the  Shenandoah,”  lately  in  the 
possession  of  Jay  Cooke  of  Philadelphia ; seventh,  “ Eecollections  of 
Italy,”  belonging  to  Abram  Adams  of  Boston.  Among  his  later 
works  exhibited  at  the  National  Academy  may  be  mentioned,  “ Sun- 
set near  Bethlehem,  N.  H.,”  in  1871  ; “ Sunset  in  the  Swamp,  near 
the  Coast  of  Maine,”  in  1873  ; “ The  East  Eiver  in  February,”  in 
1874;  “A  View  in  Vermont,”  in  1875  ; “The  Gulf”  (belonging  to 
John  H.  Sherwood),  in  1876;  “Deserted,”  in  1877  ; “A  Passing 
Shower”  and  “Clement’s  Brook,  N.  IL,”  in  1878.  His  “Hour  after 
Sunset”  and  “Hour  before  Sunrise,”  on  the  Susquehanna,  com- 
panion pictures,  belong  to  Mrs.  E.  D.  Kimball  of  Salem  ; and  “A 
View  near  Harper’s  Ferry,  Va.,”  to  Mr.  C.  H.  Miller  of  the  same  city. 
His  “ Sunset  in  the  WEderness  ” he  sent  to  the  Centennial  Exhibition 
in  Philadelphia  in  1876. 

Sorensen,  C.  F.  {Dane.)  Member  of  the  Academy  of  Copenha- 
gen. Medal  at  Philadelphia,  Avhere  he  exhibited  “ Sunset  on  the 
Atlantic,  — an  Old  Frigate  in  a Gale.”  To  Paris,  in  1878,  he  sent, 
“ Vessels  of  War  leaving  the  Faroe  Islands,”  “Fishers  on  the  Coast 
of  Norway,”  and  “Navigators  passing  Kinn  Sound  on  the  Way  to 
Bergen.” 

Soumy,  Joseph-Paul-Marius.  (Fr.)  Born  at  Puy  Amblay 
(1831-1863).  Student  at  I’Ecole  Imperiale  at  Lyons,  where  he 
gained  the  first  prize.  In  1852  he  entered  I’licole  des  Beaux- Arts  at 
Paris,  and  studied  under  Henriquel  Dupont.  In  1854  he  took  the 
grand  prix  de  Rome,  and  soon  Avent  to  Italy.  Not  long  after  he 
painted  the  portrait  called  “ La  Carolina,”  at  the  Museum  of  Mar- 
seilles. He  made  designs  after  the  masters  ; one  from  a portrait  by 
Giorgione  in  the  Doria  Palace,  and  from  it  he  made  an  engraAring. 
This  AA'as  his  chef -d^ oeuvre.  Could  he  haA'e  liA'ed  he  AA'ould  haA’e  had 
an  influence  on  the  engraving  of  his  time.  But  his  life  Avas  a sad  one, 
and,  after  having  become  nearly  blind,  he  threw  himself  from  the 
AvindoAV  of  a maison  de  santi',  and  Avas  killed. 

Spangenberg,  Gustav  Adolf.  {Ger.)  Born  at  Hamburg,  1823. 
Eoyal  Professor  and  member  of  the  Berlin  Academy,  also  member 
of  Vienna  and  Hanau.  Medals  at  Cologne,  Berlin,  and  Vienna. 
Studied  in  Hanau  under  Pelissier.  In  1849  went  to  the  Antwerp 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  265 


Academy  for  a short  time.  In  1851  went  to  Paris,  where  he  remained 
six  years  ; he  there  studied  a short  time  under  Couture,  and  spent  a 
year  in  the  atelier  of  the  Triqueti.  He  visited  Italy,  England,  and 
Holland,  and  settled  in  Berlin.  His  subjects  are  principally  illus- 
trative of  German  history  and  literature.  At  the  National  Gallery, 
Berlin,  are  his  “ Luther  translating  the  Bible  ” and  the  “ Procession 
of  the  Dead.”  His  picture  of  “ Luther  with  his  Family”  is  at  the 
Museum  at  Leipsic,  and  has  become  well  known  from  the  engraving 
by  Louis  Schulz.  He  occupied  himself  for  some  years  in  a series  of 
pictures  from  the  life  of  Luther,  whom  he  has  depicted  with  his  com- 
panions and  occupations  in  a very  graphic  manner.  He  has  thor- 
oughly studied  their  habits  and  customs,  he  represents  much  in 
detail,  and,  in  short,  gives  an  elevated  and  charming  idea  of  a 
cultured,  pure,  and  refined  life.  One  of  these  works,  “ Luther,  his 
Wife,  Children,  and  Melancthon,”  painted  in  1867,  is  in  the  collec- 
tion of  Mr.  Probasco  of  Cincinnati,  and  is,  perhaps,  the  only  work  by 
Spangenberg  in  the  United  States.  His  “ Death  and  its  Cortege  ” 
(belonging  to  the  National  Gallery,  Berlin)  was  at  the  Paris  Exposi- 
tion, 1878. 

Spartali,  Marie  (Mrs.  William  J.  Stillman).  {Brit.)  Daugh- 
ter of  a well-known  Greek  merchant,  who  has  been  for  many  years  a 
resident  of  London.  Miss  Spartali  was  a pupil  of  Ford  Madox 
Brown,  and  is  one  of  the  most  prominent  disciples  of  that  artist’s 
peculiar  school.  She  exhibited,  for  the  first  time  in  public,  at  the 
Dudley  Gallery  in  1867,  “ Lady  Pray’s  Desire,”  followed  by  “ Chris- 
tiana,” in  1868  ; “ Burning  the  Love-Philter,”  in  1869.  To  the  Royal 
Academy,  in  1870,  she  sent  “St.  Barbara”  and  “The  Mystic 
Tryst”;  in  1873,  “The  Finding  of  Sir  Launcelot  disguised  .as  a 
Fool  ” ; in  1875,  “ Mona  Lisa”  ; in  1876,  “ The  Last  Sight  of  Fiam- 
metta  ” ; in  1877,  “ Roses  and  Lilies.”  To  the  E.xhibition  of  the 
Water-Color  Society  at  the  National  Academy,  New  York,  she  sent 
“ Lilacs  and  Roses,”  “ Launcelot  and  Elaine,”  “ On  a Balcony,” 
“Tristram  and  Isolde,”  in  1875  ; “Roses,”  in  1877  ; and  “Bloom- 
Time,”  in  1878.  To  the  Centennial  Exhibition  at  Philadelphia  in 
1876  she  contributed,  “ Sir  Tristram  and  Queen  Yseult.”  “ On  the 
Balcony”  belongs  to  Col.  John  Hay,  and  “Mona  Lisa”  to  Mrs. 
Charles  Fairchild  of  Boston. 

“Miss  Spartali  hjis  a fine  power  of  fusing  the  emotion  of  her  subject  into  its  color, 
and  of  giving  aspiration  to  both  ; beyond  what  is  actually  achieved  one  sees  a reaching 
towards  something  ulterior.  As  one  pauses  before  her  work  a film  in  that  or  in  the  mind 
lifts,  or  seems  meant  to  lift,  and  a subtler  essence  from  within  the  picture  quickens  the 
sense.  In  short.  Miss  Spartali,  having  a keen  perception  of  the  poetry  which  resides  in 
beauty  and  in  the  means  of  art  for  embodying  beauty,  succeeds  in  infusing  that  per- 
ception into  the  spectator  of  her  handiwork.”  — W.  M.  Rossetti,  in  English  Painters 
of  the  Present  Day,  1871. 

“ ‘ The  Finding  of  Sir  Launcelot  disguised  as  a Fool  ’ and  ‘ Sir  Tristram  and  La  Belle 
Fonde  ’ [R.  A.,  1873,  both  in  water-color]  are  two  illustrations  of  the  ‘ Mort  d’ Arthur  ’ 
which  have  many  commendable  artistic  qualities.  Mrs.  Stillman  has  brought  imagina- 
12* 


266  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


tion  to  her  work.  These  vistas  of  garden  landscape  are  conceived  in  the  true  spirit  of 
romantic  luxuriance,  when  the  beauty  of  each  separate  flower  was  a delight.  The 
figures,  too,  have  a grace  that  belongs  properly  to  art,  and  which  has  been  well  fitted  to 
the  condition  of  pictorial  expression.  The  least  satisfactory  part  of  these  clever  draw- 
ings is  their  color.  There  is  an  evident  feeling  of  hannony,  but  the  effect  is  confused, 
and  the  i>revailing  tones  are  uncomfortably  warm."  — Art  Journal,  July,  1873. 

Spencer,  Frederick  R.,  IST.  A.  (Am.)  (1805-1875.)  Studied 

■without  a muster  in  his  native  -village,  Canistota,  N.  Y.,  where  he 
practiced  his  profession  as  a portrait-painter  until  he  settled  in  New 
York  about  1830.  He  was  elected  Associate  of  the  National  Acad- 
emy in  1837,  and  Academician  in  1846,  painting  the  portraits  of  many 
distinguished  men.  He  retired  to  Canistota  in  1853.  His  name 
rarely  appeared  in  the  catalogues  of  the  metropolitan  exhibitions  after 
that  year,  although  he  continued  to  paint  until  the  time  of  his  death. 

“ Mr.  Spencer  carried  his  work  to  a high  degree  of  finish,  and  in  his  style  resembled, 
in  a measure,  that  of  the  late  Henry  Inman.  He  was  generally  successful  in  procuring 
the  likeness  of  a sitter.”  — Art  Journal,  May,  1875. 

Spertini,  Giovanni.  (Ital.)  Of  Milan.  At  Philadelphia  he 
exhibited  a bas-relief  in  terra-cotta,  “ The  Modern  Cain,”  “ Love’s 
Messenger,”  and  a portrait  of  Giuseppe  Dassi,  Vice-President  of  the 
Italian  Centennial  Commission.  He  received  a medal. 

Spread,  Henry  F.  (Brit.-Am.)  Bom  at  Kinsale,  Ireland,  1844. 
lie  studied  art  for  four  or  five  years  at  the  schools  of  South  Kensington, 
gaining  several  prizes.  Later,  he  studied  painting  in  water-colors  un- 
der Riviere  and  Warren.  In  1863  he  went  to  Bmssels,  and  became 
a pupil  of  Slingineyer.  The  next  year  he  visited  Australia,  settling  in 
Melbourne,  where  he  painted  many  portraits,  making  sketching-tours 
in  New  Zealand  and  Tasmania.  He  removed  to  the  United  States 
in  1870,  spent  a few  months  in  New  York,  and  settled  in  Chicago, 
where  his  studio  now  is.  He  is  a member  of  the  Chicago  Academy 
of  Design.  Among  his  more  important  works  are,  “ The  Bard,”  in 
the  collection  of  Mr.  St.  Clair,  London  ; “ Thoughts  of  Home,”  now 
in  Melbourne  ; “ Chicago  rising  from  her  Ashes,”  belonging  to  Mor- 
ris Martin  ; “ The  Roman  Honey-Girl,”  also  owned  in  Chicago,  and 
many  portraits. 

Spring,  Edward  A.  (Am.)  Born  in  the  city  of  New  York  in 
1837.  His  first  visit  to  Europe  was  made  in  1846-47,  when,  at  the 
age  of  nine  years,  he  modeled  a head  of  “ Medusa  ” in  the  studio  of 
Hiram  Powers.  In  1852  he  drew  from  casts  in  the  studio  of  H.  K. 
Brown,  the  winter  of  1861-62  he  spent  in  the  studio  of  J.  Q.  A. 
"Ward,  and  he  studied  under  Dr.  Riramer  in  1864  and  ’65.  Besides 
these,  he  has  spent  five  years  in  study  in  England  and  France.  In 
1862  Mr.  Spring  occupied  a large  studio  with  William  Page,  N.  A.,  at 
Eagleswood,  N.  J.  In  1868  he  discovered  in  the  neighborhood  fine 
modeling  clay,  peculiarly  suitable  for  terra-cotta  work,  and  turned  his 
attention  to  that  branch  of  art,  establishing  the  Eagleswood  Art  Pot- 
tery Company  in  1877.  He  exhibited  at  the  National  Academy,  N.  Y., 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  267 


a best  of  Mazzini  in  1873,  and  a number  of  terra-cotta  works  in  1878. 
In  1876  he  exhibited  over  two  hundred  objects  in  clay  in  Washington, 
illustrating  many  branches  of  scientific  and  art  study,  which  now 
belong  to  the  National  Museum  of  Education.  Mr.  Spring  has  been 
favorably  known  as  a lecturer  in  different  American  cities,  and  is  suc- 
cessful as  an  instructor.  Of  his  lectures  in  Boston,  in  1875,  the  Ad- 
vertiser of  that  city  said  : — 

“ His  gemline  enthusiasm  for  art  in  every  fom,  and  generous  aid  in  endeavoring 
to  spread  the  art  idea  by  his  practical  lectures  on  modeling  and  instructive  conversa- 
tions, will  be  long  remembered  by  those  who  have  enjoyed  them.  We  hope  Mr.  Spring 
may  find  it  to  his  advantage  to  return  to  Boston  and  make  it  his  home.” 

Sprosse,  Carl.  (Oer.)  Born  in  Leipsic  (1819  - 1874).  He  was 
a very  poor  boy,  and  struggled  for  the  merest  existence.  Water- 
color  painter  of  architectural  subjects.  His  views  at  Venice  and 
those  of  Roman  ruins  are  among  his  best  works.  Later,  he  painted 
some  Grecian  views.  At  the  Museum  at  Leipsic  are,  “ The  Interior 
of  a Gothic  Church,”  “ View  of  an  Ancient  Cemetery,”  “ View  of  the 
Cathedral  at  Regensburg.” 

Stacquet,  N.  Lives  at  Brussels.  We  only  know  this  artist  by 
his  small  water-color  pictures,  exhibited  in  America  of  late  by  Mr. 
Daniel  Cottier.  Two  of  them,  belonging  to  Mr.  W.  L.  Andrews, 
were  in  the  Exhibition  of  the  Water-Color  Society  of  New  York, 
early  in  the  winter  of  1878.  Mr.  Clarence  Cook  spoke  of  them  as 
worthy  of  the  admiration  they  received,  and  said  they  were  “ expres- 
sive of  the  artist’s  love  for  what  is  tenderest  and  most  evanescent  in 
natural  beauty.” 

Staigg,  Richard  M.,  N.  A.  {Brit.- Am.)  Native  of  Leeds,  England, 
but  taken  to  America  in  his  youth,  having  previously  received  no  art 
education,  except  such  as  was  gathered  during  a short  season  of  em- 
ployment as  a draughtsman  in  an  architect’s  office,  and  a few  evenings’ 
instruction  at  the  Leeds  Mechanical  Institute.  He  began  the  practice 
of  art  at  Newport,  R.  I.,  as  a miniaturist,  receiving  there  encourage- 
ment and  valuable  assistance  from  Allston.  His  excellent  miniatures 
of  Allston,  Everett,  Webster,  and  others  are  well  known  through  the 
engraved  copies  of  them.  Some  of  his  portraits  on  ivory,  exhibited 
at  the  Royal  Academy,  excited  considerable  attention  from  English 
art  critics  and  connoisseurs.  He  was  elected  a member  of  the  Na- 
tional Academy,  N.  Y.,  in  1861,  and  has  been  a member  of  the  Boston 
Art  Club  for  some  years.  He  went  to  Paris  in  1867,  remaining  until 
1869,  and  exhibiting  at  the  Salon  of  1868  portraits  of  the  sons  of 
John  Munroe  the  banker  and  of  the  daughter  of  Richard  Green- 
ough.  He  went  to  Europe  again  in  1872,  and  spent  two  years. 
Since  his  return  he  has  painted  portraits  in  Boston  and  Newport,  with 
an  occasional  genre  picture  and  landscape  study.  Among  his  earlier 
works  are,  “ The  Crossing-Sweeper,”  “ The  Sailor’s  Grave,”  “ Cat’s 
Cradle,”  “ News  from  the  War,”  “ By  the  Sad  Sea  Waves,”  “ Beach 


268  ARTISTS  OF  TUB  NINETEENTH  CENTURY. 


at  Newport,”  “ Moonlight,”  “ Gathering  Fagots,”  and  “ Going  Home 
in  the  Snow.”  He  exhibited  at  the  National  Academy,  N.  Y.,  in 
1870,  “First  Steps,”  “St.  Jerome,”  “The  Lesson,”  and  several  por- 
traits ; in  1875,  “The  Italian  Chestnut-Gatherer”;  in  1876,  “ Ital- 
ian Peasant  Knitting”;  in  1877,  “ Italian  Girl’s  Head”;  in  1878, 
“ Boy’s  Head  ” and  “ Margaret.”  His  “ Empty  Nest  ” and  “ Cornice 
Road,  Italy  ” were  at  the  Philadelphia  Exhibition  of  1876. 

“ Staigg  has  painted  several  remarkable  portraits,  wherein  the  character  and  tone  are 

masterly,  and  the  skill  exhibited  as  delicate  as  it  is  trutliful He  has  a fine  feeling 

and  delicate  insight ; there  is  nothing  crude  or  exaggerated  in  his  style,  and  he  compre- 
hends the  refinements  of  his  art,  of  which  his  ideal  is  exalted,  and  to  which  his  devotion 
has  been  single  and  earnest. ” — Tuckermax’s  Book  of  tJie  Artists. 

Stallaert,  Joseph.  {Belgian.)  Medal  at  Philadelphia,  where  he 
exhibited  “ Palm  Sunday,  Albano,  Italy,”  “ The  Fan,”  and  “ The  Cel- 
lar of  Diomede,  — Scene  at  the  Destruction  of  Pompeii.”  At  Paris,  in 
1877,  was  his  “ Polyxena  sacrificed  to  the  Manes  of  Achilles.”  To  the 
Exposition  of  1878  he  sent  “The  Death  of  Dido,”  “ The  Sacrifice  of 
Polyxena,”  and  “ The  Last  Combat  of  the  Gladiators.” 

Stanfield,  Clarkson,  R.  A.  (Brit.)  (1793-1867.)  Began  life 
as  a sailor.  With  a decided  taste  for  art  from  his  youth,  and  fondness 
for  the  drama,  he  became  a scene-painter,  exhibiting  his  first  pictures 
of  a smaller  character  in  the  galleries  of  the  Society  of  British  Artists, 
of  which  he  was  an  original  member  in  1823.  His  “Wreckers  off 
Fort  Rouge,”  one  of  the  earliest  of  his  important  works,  was  at  the 
British  Institute  in  1827.  He  first  exhibited  at  the  Royal  Academy 
about  the  same  year,  and  was  elected  an  Associate  in  1832,  and  Acad- 
emician in  1835.  He  traveled  extensively  on  the  Continent,  painting 
many  landscapes,  but  his  most  successful  works  Avere  his  marine 
view.s,  many  of  Avhich  have  been  engraved.  His  “ Battle  of  Trafalgar” 
belongs  to  the  United  Service  Club  in  London;  his  “ AVind  against 
Tide”  (in  the  Paris  Exposition  of  1855)  Avas  painted  for  Robert  Ste- 
phenson. “The  Victory  toAved  into  Gibraltar  after  Trafalgar”  and 
the  “ Siege  of  St.  Sebastian  ” Avere  in  the  collection  of  Sir  ilorton 
Peto.  In  the  National  Gallery,  London,  are  his  “Entrance  to  the 
Zuyder  Zee  ” (R.  A.,  18-14),  a sketch  of  his  “ Battle  of  Trafalgar,” 
his  “ Lake  of  Como,”  and  “ The  Can;il  of  the  Giudecca,”  His 
pictures  are  very  popular  and  command  A’ery  high  prices.  At  the  sale 
of  the  collection  of  Charles  Dickens,  in  1871,  a thousand  guineas  were 
giA'en  for  a vieAv  of  “ Eddystone  Lighthouse,”  a scene  painted  by  Stan- 
field in  the  course  of  a feAv  hours  for  one  of  the  famous  amateur  plays 
organized  by  Dickens  and  his  friends. 

Stanfield,  George  C.  (Brit.)  Son  of  Clarkson  Stanfield.  Has  ex- 
hibited i'requently  at  the  Royal  Academy  for  some  years,  sending,  in 
1860,  “ The  Church  of  St.  Michael,  Ghent”;  in  1861,  “Siuirbuig:  Cas- 
tle”; in  1863, “On the  Lahn  ” ; in  1864,  “ The  Amphitheater,  Verona”; 
in  1867,  “At  Luzern”  ; in  1868,  “Angers”  ; in  1871,  “A  A’iew  in 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  269 


Brittany”;  in  1872,  “Dunbar  Castle,  Scotland”;  in  1873,  “Holy 
Island,  JSlortbunibeiiaud”  ; in  1875,  “Entrance  to  the  Harbor  of  La 
Rochelle,  France”  ; in  1876,  “On  the  Banks  of  the  Nile,  Upper 
Egypt.” 

Stanhope,  R.  Spencer.  (Brit.)  An  English  artist,  belonging  to 
the  pre-Raj)haelite  school.  He  first  exhibited  at  the  Royal  Acad- 
emy about  1860.  In  1862  he  sent  “The  Flight  into  Egypt”  ; in 
1864,  “ Rizpah  ” ; in  1865,  “ Beauty  and  the  Beast  ” ; in  1868,  “ The 
Footsteps  of  the  Flock”  ; in  1869,  “ The  Rape  of  Proserpine  ” ; etc. 
The  more  important  of  his  later  works  have  appeared  in  the  Grosvenor 
Gallery,  including  “ Eve  Tempted,”  “ Love  and  the  Maiden,”  and 
“ On  the  Banks  of  the  Styx,”  in  1877  ; and  “ Night,”  “ Morning,” 
“ The  Snlamite,”  and  “ Cupid  and  Psyche,”  the  following  year. 
His  “ Water-Gate”  and  “ On  the  Banks  of  the  Styx”  were  at  the  Paris 
Exposition  of  1878. 

Stebbins,  Emma.  (Am.)  A native  of  New  York,  where,  as  an 
amateur,  she  distinguished  herself  by  her  drawings  in  black  and 
white,  and  her  paintings  in  oil.  Going  to  Italy  some  years  ago,  she 
settled  in  Rome,  where  she  worked  and  studied  assiduously  as  a 
sculptor.  Her  earliest  important  work  was  a statuette  of  “ Joseph,” 
followed  by  “ Columbus,”  “ Satan  descending  to  tempt  Mankind,” 
etc.  She  executed  for  the  Central  Park,  New  York,  a large  fountain, 
the  subject  of  which  is  “ The  Angel  of  the  Waters.”  She  is  the 
author  of  the  biography  of  her  friend,  Charlotte  Cushman. 

[No  response  to  circular.] 

Steell,  Sir  John.  (Brit.)  Born  in  Aberdeen  in  1804.  Fie 
studied  art  in  Edinburgh,  and  later  in  Italy,  remaining  in  Rome  un- 
til 1833,  when  he  opened  a studio  in  Edinburgh,  where  he  has  since 
resided.  His  statue  of  Sir  Walter  Scott,  in  Carrara  marble,  in  the 
well-known  Scott  monument,  on  Princess  street,  Edinburgh,  first 
brought  him  into  prominent  notice  as  a sculptor.  A duplicate  in  bronze 
of  this  figure,  cast  in  1873,  is  now  in  the  Central  Park,  New  York,  and 
a companion' statue  of  Robert  Burns  is  at  present  (1878)  in  course  of 
construction.  Among  the  better  known  of  Sir  J ohn  Steell’s  works 
are  the  statues  of  Wellington,  Professor  Wilson,  Allan  Ramsay,  and 
Thomas  Chalmere,  all  in  bronze,  and  in  the  public  streets  of  Edin- 
burgh, and  the  statue  of  the  Queen  in  the  Royal  Institution  in  the 
same  city.  He  executed  the  monument  to  the  42d  Highland  Regi- 
ment at  the  Cathedral  of  Dunkeld  ; the  monument  to  the  93d  High- 
landers in  Glasgow  Cathedral  ; statues  of  Lord  Melville  and  Jeffrey  ; 
busts  of  the  Queen,  Prince  Albert,  Duke  of  Wellington,  Duke  of 
Edinburgh,  Florence  Nightingale  (the  only  portrait  of  any  kind  for 
which  she  ever  sat),  and  many  more.  His  last  and  perhaps  most  im- 
portant work  is  the  Scottish  National  Memorial  to  the  Prince  Consort, 
in  Charlotte  Square,  Edinburgh,  upon  the  unveiling  of  which  by  the 
Queen,  in  the  summer  of  1876,  the  sculptor  received  the  honor  of 


270  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


knighthood.  Early  in  his  career  he  was  appointed  Her  Majesty’s 
Sculptor  for  Scotland  ; he  has  been  a ineuiber  of  the  Eoyal  Scottish 
Academy  for  many  years. 

“ The  memorial  has  been  for  twelve  years  in  course  of  design  and  construction.  It 
was  proposed  soon  after  Prince  Albert’s  death,  and  has  been  paid  for  by  public  subscrip- 
tion. It  is  a colossal  equestrian  statue  in  bronze,  upon  a pedestal  of  Aberdeen  granite, 
the  whole  about  thirty  feet  in  height.  The  Prince  is  in  military  costume,  and  hts  hand- 
some German  face  and  figure  are  said  by  persons  who  knew  him  well  to  be  faithfully 
portrayed.  Horse  and  rider  are  gracefully  and  naturally  posed,  and  the  effect  is  artisti- 
cally fine.”  — New  York  Evening  Post,  September  2,  1876. 

Steell,  Gourlay.  {Brit.)  Born  in  Edinburgh,  where  he  was 
educated,  and  where  his  professional  life  has  been  spent.  He  is  a 
younger  brother  of  Sir  John  Steell.  A painter  of  animals  and  of 
scenes  in  humble  Scottish  life.  He  is  a member  of  the  Eoyal  Scot- 
tish Academy,  exhibiting  there  and  at  the  Eoyal  Academy  in  London. 
On  the  death  of  Landseer,  in  1873,  he  was  appointed  Animal  Painter 
for  Scotland  to  the  Queen.  Among  his  later  works  are,  “A 
Challenge  ” (Highland  bulls),  “ On  the  Trail  of  the  Deer,”  “ Xoble, 
Waldman,  and  Corran  ” (favorite  dogs  of  the  Queen,  to  whom  the 
picture  belongs),  “ The  Open  Window  ” (water-color),  “ Eough  Art- 
Critics,”  “ When  Greek  meets  Greek,”  “ Death  of  Old  ilortality,” 
etc.  His  “ Spring  in  the  Highlands  ” belongs  to  J.  H.  Sherwood. 
His  “ Eobbie  Burns  and  the  Field  Mouse,”  “ Visit  of  the  Queen  to  a 
Highland  Cottage,”  and  others  have  been  engraved. 

Stefifeck,  Karl  Constantin  Heinrich.  (Ger.)  Born  at  Berlin, 
1818.  Professor  and  member  of  the  Berlin  Academy  ; also  member 
of  the  Vienna  Academy.  Medals  at  Berlin,  Paris,  and  Philadelphia. 
Studied  at  Berlin  Academy  under  Franz  Kruger  and  Karl  Begas,  and 
then  at  Paris  under  Delaroche.  Visited  Eome,  and  in  1842  returned 
to  Berlin.  At  first  he  painted  historical  subjects  ; later,  animals  and 
sporting  scenes.  He  has  executed  a quantity  of  lithographs  and  etch- 
ings,— many  of  these  are  studies  of  horses.  At  the  National  Gal- 
lery, Berlin,  is  his  “Albert  Achilles  in  the  Struggle  with  the  Nurem- 
bergers, 1450,”  painted  in  1848.  At  Berlin,  in  1876,  he  exhibited  a 
portrait  of  the  Emperor  and  a “ Gypsy  Scene  ” ; and  at  Paris,  in  1878, 
“ Attrape  ! ! ” belonging  to  the  Emperor  of  Germany,  and  “ Chez 
I’accouchee,”  belonging  to  Baron  von  Arnim. 

Steinbriick,  Eduard.  {Ger.)  Born  at  Magdebouig,  1802.  Mem- 
ber and  Professor  of  the  Berlin  Academy.  Pupil  of  Wach.  He  has 
painted  “ Mary  kneeling  before  her  Son,”  for  the  church  of  St. 
Jacques  at  Magdebourg,  and  a few  landscapes,  but  most  of  his  sub- 
jects may  be  called  romantic  genre.  At  the  Berlin  National  Gallery 
are,  “ Children  Bathing  ” and  “ Marie  with  the  Elv’es.”  Among  his 
works  are,  “ The  Elves,”  “ The  Nymphs,”  “ Eed  Eiding-Hood,”  “ Un- 
dine in  a Boat,”  etc. 

Steinheil,  Louis-Charles-Auguste.  {Fr.)  Born  at  Strasbourg, 
1814.  Chevalier  of  the  Legion  of  Honor.  Pupil  of  Decaisne.  This 


ARTISTS  OF  TEE  NINETEENTH  CENTURY.  271 


artist  has  gained  a large  part  of  his  reputation  by  his  mural  and  glass 
painting.  He  has  executed  pictures  in  almost  every  kind  of  style, 
and  works  in  water-colors  as  well  as  oils.  In  1876  he  received  the 
commission  to  execute  some  frescos  in  the  Cathedral  of  Strasbourg. 

Steinle,  Eduard.  Born  at  Vienna,  1810.  Member  of  the  Acad- 
emies of  Berlin,  Vienna,  Munich,  and  Hanau.  Medals  at  Berlin  and 
Paris.  Pupil  of  the  Academy  of  Vienna  and  of  Cornelius  at  Rome. 
Professor  at  Frankfort.  His  decorative  paintings  are  at  the  ChMeau 
Reineck,  the  Cathedral  of  Cologne,  the  Museum  of  Cologne,  the  Im- 
perial Hall  of  Frankfort,  at  Riga,  in  the  church  of  Saint  jEgidius  at 
Miinster,  and  in  other  places.  The  cartoons  of  the  last  named  are  in 
the  Leipsic  Museum.  In  the  Berlin  National  Gallery  there  are  also 
cartoons  from  the  “World’s  History,”  and  some  scenes  from  Shaks- 
pere’s  “ Twelfth  Night  ” or  “ What  You  WilL”  To  the  Paris  E.xposi- 
tion,  1878,  he  sent  “ The  Virgin  and  Child,”  in  water-color,  belonging 
to  the  Princess  Marie  de  Lichtenstein,  and  cartoons  of  nine  frescos  in 
the  chapel  of  the  Princes  of  Lowenstein  at  Heuhach-sur-Mein,  and 
ten  others  from  frescos  at  the  Museum  of  Cologne. 

Stephens,  Edward  B.,  A.  R.  A.  {Brit.)  A native  of  Exeter. 
He  entered  the  schools  of  the  Royal  Academy  at  an  early  age,  and  in 
1843  gained  the  gold  medal  for  a work  in  alto-relievo.  Later,  he  went 
to  the  Continent,  remaining  three  years  in  the  study  of  sculpture  at 
Rome.  To  the  Great  Exhibition  in  London,  in  1851,  he  sent  “ Satan 
Vanqrrished  ” and  “ Satan  tempting  Eve.”  Among  his  earlier  works 
are,  “ Eve  contemplating  Death,”  “ Angel  of  the  Resurrection,”  etc. 
To  the  Royal  Academy,  in  1861,  he  contributed,  “ Evening,  — Going 
to  the  Bath,”  a group  in  marble  ; in  1863,  “ Alfred  the  Great  in  the 
Neatherd’s  Cottage  ” (purchased  by  the  Corporation  of  the  City  of 
London,  and  now  in  the  Mansion  House)  ; in  1865,  when  he  was 
elected  an  Associate  of  the  Royal  Academy,  “ Euphrosyne  and  Cu- 
pid in  1867,  “Lady  Godiva”;  in  1868,  “Coaxing”;  in  1869, 
“Saved  from  the  Wreck”  ; in  1871,  “ Zingari  ” ; in  1873,  “A  Deer- 
Stalker”;  in  1874,  “ Leander  ” ; in  1875,  “ Evening  ” and  “Morn- 
ing” ; in  1876,  “The  Bathers”  ; in  1878,  “The  Little  Carpenter.” 
He  has  also  executed  many  statues  and  busts. 

Stevens,  John.  {Brit.)  Born  in  Ayr  (about  1793  - 1868).  En- 
tered the  schools  of  the  Royal  Academy  in  London  in  1815,  gaining 
in  1818  two  silver  medals.  He  practiced  portrait-painting  in  his 
native  town  for  a few  years,  when  he  went  to  Italy,  settling  in  Rome, 
and  making  that  city  his  home  for  many  winters.  He  was  a member 
of  the  Royal  Scottish  Academy.  His  “ Standard-Bearer  ” is  in  the 
Scottish  National  Gallery. 

Stevens,  Alfred.  {Brit.)  Born  in  Blandford,  Dorsetshire  (1817- 
1875).  He  displayed  marked  talent  for  painting  as  a child,  and 
at  the  age  of  sixteen  he  went  to  Italy,  studying  the  works  of  Sal- 
vator Rosa  in  Florence.  Later,  he  entered  the  studio  of  Thorwaldsen 


272  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


in  Rome,  turning  his  attention  to  plastic  art,  and  remaining  with  that 
master  for  some  years.  He  returned  to  England  in  1843,  ■when  he 
settled  in  London,  and  connected  himself  with  the  Art  Schools  of 
Somerset  House.  In  1850  he  removed  to  Sheffield,  executing  what  is 
known  as  “ decorative  work,”  in  iron  and  silver,  for  manufactiu’ing 
firms  of  that  city.  He  received  in  1857  the  commission  from  govern- 
ment for  the  great  work  of  his  life,  the  monument  to  the  Duke  of 
Wellington  in  St.  Paul’s  Cathedral,  London.  The  sum  voted  by  Par- 
liament {£  14,000)  for  the  execution  of  this  commission  was  utterly 
insufficient  and  exhausted  long  before  its  completion.  He  expended 
upon  it  much  of  his  private  means,  was  censured  for  his  delays  in  the 
work,  and  suffered  much  grief  and  disappointment  during  its  progress, 
leaving  it  unfinished  at  his  death,  eighteen  years  after  the  commission 
was  given  him.  It  has  nevertheless  added  greatly  to  his  fame  as  a 
sculptor.  He  was  the  author  of  several  admirable  portrait  busts  of 
the  members  of  the  family  of  his  friend.  Hr.  Collman,  and  others. 
He  executed  the  mosaic  “ Isaiah  ” in  the  arch  of  the  dome  of  St. 
Paul’s,  turning  his  attention  also  to  painting  and  architecture. 

“ Stevens’  figures  were  always  (like  nearly  all  first-rate  sculpture  in  tlie  best  times) 
part  and  parcel  of  something  else.  Sculpture  was  to  him  as  intimately  related  to  archi- 
tecture as  was  his  owm  flesh  to  his  own  bones,  and  so  we  find  that  his  noblest  sculptured 
•v^rorks,  — the  life-sized  marble  figures  in  Dorchester  House,  and  the  bronze  figures  of  the 
Wellington  memorial,  — are,  like  the  best  sculpture  of  which  the  world  knows,  integral 
and  essential  parts  of  architectural  compositions.  Since  Michael  Angelo  made  the 
monument  to  Lorenzo  de  Medici,  no  stronger  nor  more  vigorous  work  has  been  made  in 
marble  than  these  Dorchester  House  figures.  The  pose  of  them,  the  manner  in  which 
the  heads  and  shoulders  are  related  to  the  comice  over  them,  the  modeling  of  the  flesh, 
all  speak  of  an  artist  greater  than  our  modem  scale  of  measurement  can  by  any  possi- 
bility gauge.  These  figures  belong  to  the  culminating  period  of  Stevens*  career,  and 
are  contemporary  with  the  groups  of  the  Wellington  monument,  his  last  and  cro^vning 
work.'*  — Edward  W.  Godwin,  F.  S.  A.,  Art  Monthly  Review. 

Those  interested  in  such  matters,  however,  were  well  aware  that  Stevens  had  de- 
signed some  of  the  finest  works  of  the  day  : innumerable  decorative  objects  of  daily  use, 
distinguished  by  the  finest  taste,  decorations  proper  in  metal,  stone,  and  marble,  to  say 
nothing  of  works  of  higher  pretensions,  with  which  the  names  of  manufacturers,  rather 
than  of  the  real  designer,  were  associated.  A fine  exajn)>le  of  his  peculiar  skill  is  seen 
by  those  who  pass  the  British  Museum,  and  admire,  probably  without  knowing  to  whoni 
they  are  indebted  for  tliem,  the  excellent  designs  of  the  little  sejant  lions  on  the  iron 
posts  before  the  gi'ille,  and,  we  believe,  the  verj’  handsome  grille  itself.  In  fact,  his 
works  are  numerous,  yet  they  rarely  bear  bis  name.”  — Athenecnm,  May  S,  1S75. 

Stevens,  Joseph.  (Belgian.')  Born  at  Brussels,  1819.  Chevalier 
of  the  Orders  of  Leopold  and  of  the  Legion  of  Honor.  After  studying 
at  Paris,  he  made  his  debut  at  the  Salon  at  Brussels  in  1844  and  at 
Paris  in  1847.  He  continued  to  exhibit  at  Paris  until  1863,  since 
which  time  he  has  appeared  at  but  one  Salon,  that  of  18<0,  with  ‘‘  The 
Intervention.”  He  paints  genre  subjects,  very  frequently  with  ani- 
mals, and  holds  a high  rank  among  artists  of  this  type.  Among  his 
works  are,  “ The  Surprise,”  “ An  Episode  in  the  Dog-Harket  at  Paris,” 
“ The  Dog  and  the  Fly  ” (at  Paris  in  1878),  “ A Philosopher  without 
knowing  it,”  “ The  Kitchen,”  “ The  Corner  of  the  Fire,”  etc. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  273 


^‘Rarely  have  the  Dutch  or  Flemish  artists  done  better  than  Joseph  Stevens  in  his 
* Kitchen.'  It  is  an  interior  animated  by  no  figure  ; no  interesting  cook  paring  the  vege- 
tables while  listening  to  a lover  leaning  on  the  window-sill ; no  scullion  in  a white  cai) 
licking  the  sauce  from  his  fingers.  Joseph  Stevens  has  disdained  these  vulgar  artifices  ; 
he  has  painted,  with  masterly  dexterity,  the  chimney  in  brown  tones,  the  stove  backed 
with  faience,  without  otlier  objects  than  the  great  iron  fire-dogs,  the  toothed  turnspit, 
the  stewpans  polished  like  antique  shields,  the  kettles  glittering,  the  coffee-pots  prat- 
tling ; all  this  is  of  a color  so  true,  strong,  and  beautiful,  and  so  broadly  and  at  the  same 
time  so  exactly  rendered,  that  we  arrest  ourselves  before  the  ‘ Kitchen  ' as  before  a Peter 
de  Hooge.”  — Theophile  Gautier,  Abecedaire  du  Salon  de  1S61. 

Stevens,  Alfred.  {Belgian.)  Bom  at  Brussels,  1828.  Officer  of  the 
Order  of  Leopold.  Commander  of  the  Order  of  St.  Michael  of  Bavaria, 
Commander  of  the  Order  of  Ferdinand  of  Austria,  and  Officer  of  the 
Legion  of  Honor.  Pupil  of  Navez  in  Belgium,  and  of  Roqueplan  at 
Paris.  This  painter  represents  scenes  from  modern  life,  and  repro- 
duces with  great  exactness  the  costumes,  furniture,  etc.,  of  the  time. 
He  has  exhibited  his  works  in  Brussels  and  Paris  since  1849,  and  in 
reality  belongs  to  the  schools  of  two  countries.  Stevens  sent  eighteen 
pictures  to  the  E.xposition  of  1867  ; among  them  were,  “The  Visit  ” 
(purchased  by  the  King  of  Belgium),  “La  Dame  Rose”  (purchased  for 
the  Museum  at  Brussels),  “ Consolation,”  “ Innocence,”  “ Ophelia,” 
“A  Duchess,”  “A  Morning  in  the  Country,”  “A  Good  Letter,”  etc. 
At  a sale  in  Brussels,  in  1874,  “The  New  Year’s  Gift”  sold  for 
£840.  Among  his  later  works  are  “ The  Bath  ” and  “ The  Japanese 
Woman.”  At  the  Latham  sale.  New  York,  1878,  “ Springtime  of 
Life  ” (49  by  19)  sold  for  $ 1,050. 

“We  have  been  able  to  follow  this  painter  (who  has  grown  in  France,  and  who  belongs 
to  two  schools)  since  his  debut.  With  pleasure  we  have  seen  him  .abandon,  little  by 
little,  his  first  manner,  in  which  solidity  degenerated  into  heaviness,  in  which  the  strong 
tones  too  nearly  .approached  black.  Stevens  has  been  transformed  under  our  eyes,  and, 
while  remaining  earnest,  he  has  become  one  of  the  best  of  the  painters  of  modern  elegan- 
ces  In  ‘La  dame  rose,’  in  ‘Une  bonne  lettre,’  the  faces  of  the  charming  little 

women  painted  by  Stevens  are  veiled  by  an  obscure  tint,  which  threatens,  by  the  action 
of  time,  to  become  darker.  To  tell  the  truth,  it  is  the  only  fault  which  troubles  us  in 
these  pictures,  so  well  done,  so  charming  to  see,  and  which,  taking  in  the  daily  realities 
of  modern  life,  will  always  tell  of  its  costumes,  furniture,  and  elegances.’’  — Paul 
Mantz,  Gazette,  des  Beaux-Arts,  July,  1S67. 

Stever,  Gustav  Curt.  (Russian.)  Born  at  Riga  (1823-1877). 
Honorary  Cross  of  the  Order  of  the  House  of  Mecklenburg.  Studied 
at  the  Academy  of  Berlin.  In  1850  he  went  to  Stockholm  to  paint 
portraits  and  execute  other  commissions.  In  1854  he  went  to  Paris 
and  studied  under  Couture.  Among  his  works  are,  “ The  Death  of 
Gottschalk,  King  of  the  Wendens,”  “ King  David  and  Abishag,  the 
Shunamite,”  “ The  Angel  of  Prayer,”  “ The  Last  Supper,”  and  “ The 
Transfiguration.”  In  1859  he  settled  at  Hamburg,  where  he  was  much 
employed.  In  1865  he  removed  to  Diisseldorf,  and  tliere  painted  more 
religious  pictures  as  well  as  genre  subjects,  such  as  “ Vandyck  at  his 
Easel,”  “ Jean  Mabuse  painting  his  Dead  Child,”  etc.  He  was  a suc- 
cessful instructor,  and  executed  some  excellent  portraits.  His  picture 

12*  K 


274  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


of  “Master  Adam  van  Noort  surprising  his  Pupil  Rubens  at  his  Secret 
Studies”  attracted  much  attention  at  the  Exposition  at  Berlin  in 
1871. 

Stocks,  Lumb,  R.  A.  {Brit.)  Bom  in  1812.  He  began  his  ca- 
reer as  a line-engraver  when  about  twenty-one  years  of  age,  furnish- 
ing illustrations  for  fine  editions  of  English  books  ; and,  later,  plates 
of  a larger  and  more  important  character,  such  as  Webster’s  “ Dame 
School,”  Patou’s  “ Olivia  and  Viola,”  Maclise’s  “ Fitting  Mo.ses  for  the 
Fair”  and  the  “ Meeting  of  Wellington  and  Blucher  on  the  Field  of 
Waterloo,”  Wilkie’s  “Gentle  Shepherd,”  T.  Faed’s  “Silken  Gown,” 
Mulready’s  “ Fight  Interrupted,”  Horsley’s  “ Deserted,”  E.  if.  Ward’s 
“ Marie  Antoinette  in  Prison  ” and  “ Charlotte  Corday  in  the  Concier- 
gerie.”  He  was  elected  an  Associate  Engraver  of  the  Royal  Academy 
in  1853,  and  Academician  in  1872. 

Stone,  Frank,  A.  R.  A.  {Brit.)  Bom  in  Manche-ster  (1800- 
1859).  He  had  no  instruction  in  art,  and  did  not  adopt  it  as  a pro- 
fession until  1825,  devoting  himself  in  the  beginning  of  his  career  to 
water-color  drawing.  He  joined  the  Old  Water-Color  Society  in  Lon- 
don in  1832,  remaining  a member  about  fifteen  years.  His  first  pic- 
ture appeared  on  the  walls  of  the  Royal  Academy  in  1837.  In  1840 
he  exhibited  “ The  Legend  of  Montrose,”  his  first  important  work  in 
oil,  followed  by  the  “ Stolen  Interview  between  Prince  Charles  and 
the  Infanta  of  Spain,”  in  1841  ; “The  Last  App^l,”  in  1843  ; “ The 
Course  of  True  Love,”  in  1844  ; “Ophelia  and  the  Queen,”  in  1845  ; 
“The  Impending  Mate  ” and  “ Mated,”  in  1847;  “ The  GardeneFs 
Daughter,”  in  1850;  “A  Scene  from  the  Merchant  of  Venice,”  in 
1851,  when  he  was  elected  Associate  of  the  Royal  Academy  ; “ The 
Old  Old  Story,”  in  1854  ; “ Bon  jour,  messieui’s,”  in  1857  ; and  the 
“ Missing  Boat,”  in  1858  : many  of  which  have  been  engraved. 

“ Frank  Stone  was  one  of  the  most  graceful  of  English  gtnrt  painters.  His  subjects 
are  commonly  of  a sentimental  character,  and  distinguished  for  their  delicate  allusions 
to  the  ‘gentle  passion,’  and  his  young  women  certainly  seem  very  lovable  persons.  In 
later  years  he  tunied  his  attention  much  to  French  subjects,  illustrating  local  manners 
and  customs."  — Worsum's  Epochs  of  Painting. 

Stone,  Horatio.  {Am.)  (1810-1875.)  He  was  a native  of  New 
England,  and  a practicing  physician  in  New  York  for  some  time. 
He  went  to  Washington  about  1848,  devoting,  after  that  period,  his 
entire  attention  to  sculpture,  executing  several  statues  and  busts  of 
public  men,  — Chief  Justice  Taney,  Thomas  Jefferson,  John  Hancock 
(in  the  Senate  Chamber),  Thomas  Benton,  and  others.  About  1856 
he  made  his  first  visit  to  Italy,  remaining  several  years. 

“ Dr.  Stone  w.as  very  entliusiastic  in  his  nature,  and  had  he  given  his  attention  earlier 
to  the  study  of  art,  under  a competent  master,  he  might  have  achieved  lasting  fame."  — 
Art  Journal.  November,  1875. 

Stone,  William  Oliver,  N.  A.  {Am.)  Bom  at  Derby,  CL 
(1830-1875).  Studied  art  in  New  Haven,  and  painted  portraits 
there,  as  a young  man,  with  considerable  success.  He  settled  in  New 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  275 


York  about  1858,  and  was  made  a member  of  the  Academy  of  Design 
in  1859,  exhibiting  annually  until  the  year  of  his  death.  As  a por- 
trait-painter he  was  very  popular,  and  among  his  sitters  have  been 
Howell  L.  Williams  (in  the  Union  Club,  New  York),  Daniel  Le  Roy, 
Mrs.  Hoey,  James  Gordon  Bennett,  and  others. 

“ Mr.  Stone  was  an  admirable  painter  of  women  and  children,  and  some  of  his  pictures 
of  this  class  have  never  been  equaled  in  America In  his  handling  of  these  sub- 

jects he  threw  around  them  an  expression  of  ideality  which  was  artistic  in  the  liighest 
degree,  and  raised  his  art  far  above  the  level  usually  attained  in  portrait  pictures.  He 
was  a prolific  painter,  and  one  year  sent  nine  pictures  to  the  Academy.”  — Art  Journal, 
November,  1875. 

Stone,  Marcus,  A.  R.  A.  {Brit.)  Son  of  Frank  Stone,  A.  R.  A., 
an  artist  of  much  repute.  Marcus  Stone  was  born  in  London  in 
1840.  He  worked  in  his  father’s  studio,  inheriting  some  of  his 
father’s  genius,  but  receiving  little  instruction  in  art.  He  exhibited 
his  first  picture,  “Rest,”  at  the  Royal  Academy  in  1858.  In  1859  he 
sent  “Silent  Pleadings”;  in  1860,  “The  Sword  of  the  Lord  and 
Gideon  in  1861,  “ Claude  accuses  Hero  ” ; in  1862,  “ The  Painter’s 
First  Work”  ; in  1863,  “ On  the  Road  from  Waterloo  to  Paris”  (a 
picture  containing  a portrait  of  Bonaparte,  which  attracted  some  at- 
tention). In  1864  he  exhibited  “Working  and  Shirking”  ; in  1865, 
“ Old  Letters  ” ; in  1866,  “ Stealing  ” and  “ Nell  Gwynn”  ; in  1868, 
“ The  Interrupted  Duel”  ; in  1870,  “ Henry  VIII.  and  Anne  Boleyn 
observed  by  Queen  Katherine”  ; in  1871,  “The  Royal  Nursery  in 
1838”  ; in  1872,  “ Edward  II.  and  Piers  Gaveston”  ; in  1874,  “ My 
Lady  is  a Widow  and  Childless  ” ; in  1875,  “ Sain  et  Sauf  ” ; in  1876, 
“ Rejected  ” ; in  1877  (when  he  was  elected  an  Associate  of  the 
Royal  Academy),  “The  Sacrifice”  and  “Waiting  at  the  Gate  ” ; in 
1878,  “ The  Post-Boy”  and  “ The  Time  of  Roses.”  His  “Childless 
Widow”  was  at  Philadelphia  in  1876,  and  at  Paris  in  1878. 

“This  picture  [‘Claude  accuses  Hero,’  B.  A.,  1861],  instead  of  looking  like  the  work 
of  a very  young  man,  has  rather  the  appearance  of  being  painted  with  a decision  and 
breadth  of  touch  bespeaking  one  who  has  painted  on  from  vigorous  style  into  facile 
manner.  The  ripe  facility  of  pencil  is  at  least  equaled  by  adroit  dexterity  of  grouping 
and  disposition  of  color,  so  that,  as  a whole,  this  is  a most  winning  and  attractive  pic- 
ture.”— Art  Journal,  June,  1861. 

“ Marcus  Stone  stands  at  the  head  of  his  craft  as  a skillful  designer  and  admirable 
painter  of  pieces  of  historic  genre."  — Art  Journal,  April,  1877. 

Stone,  J.  M.  (^m.)  Born  in  Dana,  Mass.,  1841.  He  received 
his  art  education  in  Munich,  under  Professor  Seitz  and  Professor 
Lindenschmidt.  He  has  spent  his  professional  life  in  Boston,  where 
he  is  an  instructor  in  the  School  of  the  Museum  of  Fine  Arts.  He 
was  elected  a member  of  the  Boston  Art  Club  in  1876,  exhibiting 
there  his  “ Tuning  of  the  Violin,”  the  same  year,  considered  his  most 
important  work.  Among  his  portraits  are  those  of  Frank  Dengler 
the  sculptor,  belonging  to  F.  X.  Dengler,  Covington,  Ky.,  and  of  F. 
W.  Tilton  of  Newport,  painted  for  Phillips  Academy  at  Andover. 


276  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


“ The  portrait  of  Mr.  Tilton  is  not  only  an  admirable  likeness,  but  the  best  portrait 
Mr.  Stone  has  yet  done,  and  ought  to  rank  him  among  the  first  portrait-painters  of 
Boston.  The  artist’s  thorough  knowledge  of  drawing  is  shown  in  the  certainty  of  the 
lines  and  the  firm,  vigorous  modeling.  The  execution  manifests  both  strength  and  nice 
perception ; not  a feature  is  neglected  or  slurred  over,  and,  at  the  same  time,  there  is 

no  suggestion  of  higgling The  expression  and  pose  are  finely  conceived,  having 

that  quality  which  in  portraiture  is  most  difficult  to  catch,  — action.  This  is  partic- 
ularly evident  in  the  rendering  of  the  eyes,  which  are  not  set  or  fixed  in  gaze,  which 
have  a peculiarly  animated  and,  at  the  same  time,  contemplative  glance, — a striking 
something  which  may  be  expressed  in  the  word  ‘intelligence.’”  — Boston  Advertiser, 
June,  1S7S. 

Storelli,  Felix-Marie-Ferdinand.  (Ital.)  Born  at  Turin  (1778- 
1854).  Medal  at  Paris.  This  landscape-painter  e.xhibited  works  at 
Paris  many  times.  Some  of  them  were  at  the  palace  of  Saint-Cloud  ; 
others  are  at  the  Trianon  ; and  his  portrait  of  Marshal  Schomberg  is  at 
Versailles. 

Storey,  George  Adolphus,  A.  R.  A.  (Brit.')  Bom  in  London, 
1834.  Displayed  a love  of  art  as  a child,  and  won  a prize  at  school 
for  painting  in  oil  when  not  more  than  twelve  years  of  age.  Between 
1848  and  ’50  he  studied  mathematics  in  Paris,  painting  in  the  Louvre 
in  his  leisure  moments.  Later,  he  studied  art  in  London,  entering  the 
Royal  Academy  in  1854.  In  1852,  however,  he  had  sent  to  the  Royal 
Academy  his  first  picture,  “ A Family  Portrait  ” ; in  1853,  “ Madonna 
and  Child”  ; in  1854,  “Holy  Family,”  which  attracted  considerable 
attention.  He  visited  Spain  for  the  purpose  of  painting  and  study  in 
1863.  Among  his  earlier  works  are,  “ Sacred  Music,”  “ The  Widowed 
Bride”  (1858),  “The  Bride’s  Burial,”  and  “The  Annunciation.”  His 
“ Meeting  of  William  Seymour  and  Lady  Arabella  Stuart  in  1609  ” 
(which  first  brought  him  prominently  into  public  notice)  was  exhib- 
ited in  1864.  In  1865  he  sent  “ The  Royal  Challenge  ” ; in  1867, 
“ After  You  ! ”;  in  1868,  “ The  Shy  Pupil  ” and  “ Saying  Grace  in 
1869,  “Going  to  School”  and  “The  Old  Soldier”  ; in  1870,  “The 
Duet  ” and  “ Only  a Rabbit  ” ; in  1871,  “ Ro.sy  Cheeks  ” and  “ Lessons 
in  1872,  “Little  Buttercups  ” and  “ The  Course  of  True  Love  ” ; in 
1878,  “ Love  in  a Maze  ” and  “ Mistress  Dorothy  ” ; in  1874,  “ Grand- 
ma’s Christmas  Visitors  ” ; in  1875,  “ Caught  ” and  “ The  Whip- 
hand  ” ; in  1876  (when  he  was  elected  Associate  of  the  Academy), 
“ A Dancing- Lesson  ” and  “ My  Lady  Belle  ” ; in  1877,  “ The  Old 
Pump-Room  at  Bath,”  “ The  Judgment  of  Paris,”  and  “ Christmas 
Eve  ” ; in  1878,  “ Sweet  Margery.”  He  sent  to  the  Paris  E.xposition 
of  1878,  “Scandal”  and  “The  Old  Soldier.” 

“George  A.  Storey  has  still  to  aequire  more  finish,  delicacy,  and  completeness  of  exe- 
cution to  fit  his  pleasant  class  of  subjects  ; and  he  will  then  fill  a place  of  his  own  in 

which  he  will  not  find  many  competitors Mr.  Storey,  too,  may  for  the  moment 

almost  claim  a monopoly  of  pretty,  playful  vnndcvillc.  His  portraits  of  children  and 
girls  are  particul.arly  ple.asing  .and  Inappy  in  arrangement”  — Tom  T.vylor,  in  English 
Artists  of  the  Present  Day. 

“ Among  the  yotinger  men  of  our  living  school  of  painters  we  cannot  point  to  a more 
conscientions  worker  than  Mr,  Storey.  His  principal  characters  are,  as  they  should  be. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  277 


his  chief  study,  hut  the  accessories  are  not  neglected His  canvases  are  never 

overloaded,  and  on  the  other  hand  they  are  never  wanting  in  suhject-matter  of  more  or 
less  interest.  The  domestic  life  of  a past  generation  affords  him  an  ample  field  for  the 
display  of  many  of  the  best  qualities  one  desires  to  see  in  a picture.” — Art  Journal, 
June,  1S75. 

Story,  William  W.  (Am.)  Born  at  Salem,  Mass.,  1819.  Grad- 
uated at  Harvard  College,  1844.  Studied  law,  and  published  several 
law  treatises  considered  valuable  in  that  profession.  He  published 
a volume  of  Poems  in  1847,  a Life  of  his  father.  Judge  Story,  in 
1851,  and  a second  volume  of  Poems  in  1856.  Adopting  sculpture  as 
a profession,  he  went  to  Rome,  one  of  his  earliest  works  being  a statue 
of  his  father,  now  at  Mount  Auburn  Cemetery,  in  Cambridge,  Mass. 
His  “ Cleopatra  ” (bought  by  John  T.  Johnston),  and  his  “ Sibyl,”  ex- 
hibited at  the  London  International  Exhibition  of  1862,  were  highly 
praised  by  critics  and  connoisseurs.  Among  his  works  are,  “ Saul,” 
“ Sappho,”  “ Delilah,”  “ Moses,”  “Judith,”  “ Infant  Bacchus,”  “ Little 
Red  Riding-Hood,”  and  “ Jerusalem  in  her  Desolation  ” (presented 
by  the  purchasers  of  it  to  the  Academy  of  Arts  in  Philadelphia).  His 
“Medea”  was  at  the  Philadelphia  Centennial  Exhibition  in  1876. 
He  is  the  author  of  the  statues  of  George  Peabody,  in  London,  and  of 
Edward  Everett,  in  the  Public  Garden  at  Boston,  both  in  bronze.  At 
present  (1878)  he  is  engaged  on  a National  Monument  to  be  placed 
in  Independence  Square,  Philadelphia. 

“ ‘Jerusalem  in  her  Desolation  ’ is  tlie  title  given  by  W.  W.  Story  to  a colossal  statue 
[exhibited  in  London  in  1873].  It  is  a noble  female,  figure  clad  in  flowing  drapery  ; tlie 
head,  crowned  with  a kind  of  phylactery,  is  fineiy  modeled,  the  Hebrew  face  having  an 

expression  of  mingled  distress  and  contempt The  generai  impression  of  the 

design  is  that  of  majestic  sorrow,  and  the  execution  of  the  work  throughout  is  most  care- 
ful."— AH  Journal,  August,  1873. 

" The  two  conceptions,  ‘ Cleopatra  ’ and  the  ‘ Libyan  Sibyl,’  have  placed  Mr.  Storj'  in 
European  estim.ation  at  the  head  of  American  scuiptors Profiting  by  the  knowl- 

edge of  the  old  masters,  and  forming  his  tastes  upon  the  best  styies.  Story  has  had  the 
independence  to  seek  out  an  unused  field.  In  this  he  confers  honor  on  our  school,  and 
gives  it  an  impetus  as  new  as  it  is  refresliing.”  — Jarvf.s,  Art  him. 

“ In  a word,  all  Cleopatra  — fierce,  voluptuous,  passionate,  tender,  wicked,  terrilile,  and 
full  of  poisonous  and  rapturous  enchantment — was  kneaded  into  what,  only  a week  or 
two  before,  had  been  a lump  of  wet  clay  from  the  Tiber.  Soon  apotheosized  in  an  inde- 
structible material,  she  would  be  one  of  the  images  that  men  keep  forever,  finding  a heat 
in  tliem  that  does  not  cool  down  through  the  centuries.”  — Hawthorne,  in  The  Marble 
Faun, 

Story,  George  H.,  A.  N.  A.  (Am.)  Born  in  New  Haven,  Ct., 
1835.  He  began  his  art  studies,  at  the  age  of  fifteen,  under  Professor 
Bail  of  New  Haven  ; later,  spending  two  years  in  the  studio  of  Charles 
Hine,  a portrait-painter,  in  that  city.  Going  to  the  Continent  of 
Europe,  he  passed  a year  in  general  observation  and  study.  He  then 
resided  two  years  in  Portland,  Me.,  gaining,  in  1858,  the  State  Medal 
of  Maine  for  the  best  oil-painting.  He  painted  for  two  years  in 
Washington,  D.  C.,  passed  a year  in  Cuba,  and  for  some  time  has 
been  a resident  of  New  York.  In  1875  he  was  elected  an  Associate 


278  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


of  the  National  Academy,  and  is  a member  of  the  Artists’  Fund  So- 
ciety. His  pictures  are  exliibited  frequently  in  New  York  and  else- 
where. Among  the  better  known  of  them  are,  “ The  Testy  Old 
Squire’s  Complaint”  (the  property  of  Charles  Rogers),  “The  Young 
Mother”  (owned  by  J.  F.  Nash,  Yonkers),  “The  Student  of  Nature” 
(owned  by  E.  B.  Warren,  Philadelphia),  “The  Young  Student” 
(owned  by  David  Grosbeck,  Suffern,  N.  Y.),  a full-length  life-sized 
portrait  of  H.  J.  Kimball,  a portrait  of  Whitelaw  Reid  (belonging  to  the 
Lotus  Club),  “The  Winter  School,”  “ Uncle  Peter  in  his  Castle,” 
“The  Return  of  the  Forager,”  “Freeing  the  Butterfly,”  “Praj^er,” 
“ A New  England  Professor  of  Psalmody,”  “ Making  his  Mark,” 
“ The  Clock-Tinkers,”  a large  portrait  group  of  the  Governor  of  Yilla- 
Clara,  in  his  gallery  at  Madrid,  Spain,  and  others.  His  “Young 
Mother,”  “Echoes  of  the  Sea,”  and  “The  Young  Student”  were  at 
the  Centennial  Exhibition  of  Philadelphia  in  1876. 

“ No  artist  in  tliis  countrj-  has  made  such  a decided  advance  in  his  profession  daring 
the  last  five  years  as  George  H.  Story  ; and  he  invests  his  works  with  so  much  refine- 
ment of  feeling  that  they  at  once  arrest  attention  in  whatever  position  they  may  be 
placed.”  — Art  Journal,  May,  1875. 

Strazza,  Griovanni.  (Ital.)  Born  at  Milan  (1818  - 1875).  Pro- 
fessor in  the  Academy  of  the  Brera.  He  received  many  medals.  When 
but  twenty  years  old  he  had  modeled,  in  Rome,  his  statue  of  “ Ish- 
mael,”  which  won  him  much  fame.  His  works  are  seen  in  many 
cities.  His  bust  of  Manzoni  was  greatly  admired  at  Yienna  in  1873. 
One  of  his  last  works  was  the  statue  of  Donizetti  placed  in  the  atrium 
of  the  Theater  of  the  Scala  at  Milan  in  1874. 

Street,  George  Edmund,  R.  A.  (Brit.)  Born  in  Essex,  1824. 
He  studied  architecture  for  some  years  under  Sir  George  G.  Scott. 
In  1866  he  was  elected  an  Associate  of  the  Royal  Academy,  Academi- 
cian in  1871,  and  Auditor  in  1873.  He  has  designed  many  important 
buildings  throughout  Great  Britain,  particularly  turning  his  attention 
to  country-houses  and  church  edifices.  He  was  instrumental  in  the 
restoration  of  Bristol  Cathedral  and  Christ  Church  Cathedral,  Dublin, 
among  others,  and  was  appointed  Architect  to  the  new  Courts  of  Jus- 
tice, London. 

Stroebel,  J.  A.  B.  (Dutch.)  Of  The  Hague.  Medal  at  Philadel- 
phia, where  he  exhibited  “ The  Deacons  of  the  Silversmiths’  Guild 
conferring  a Certificate,”  of  which  John  F.  Y eir  says,  “while  tending 
towards  the  conventional  it  is  nevertheless  admirable  in  many  estima- 
ble qualities,  broad  and  simple  in  treatment,  and  pure  in  tone.” 

Stroobant,  Francois.  (Belgian.)  Born  at  Brussels,  1819.  Chev- 
alier of  the  Order  of  Leopold.  Medal  at  Paris,  1855.  Pupil  of  Lau- 
ters.  An  artist  of  good  reputation  as  a landscape-painter.  He  used 
water-colors  and  pastels,  and  made  numerous  lithographs. 

Sturm,  Friedrich  Ludwig  Christian.  (Ger.)  Born  at  Rostock, 
1834.  Medal  at  London.  Pupil  of  Berlin  Academy  under  Eschky;  later, 


ARTISTS  OF  TEE  NINETEENTH  CENTURY.  279 


under  Professor  Gude,  at  Carlsruhe,  he  finished  his  studies.  Traveled 
in  the  North  of  Europe  and  Italy.  At  the  National  Gallery,  Berlin, 
are  bis  pictures  of  the  “ Baltic  Sea  ” and  the  “ Mediterranean  Sea.” 

Sully,  Thomas.  (Am.)  Born  in  England  (1783  - 1872).  ■ Taken 
to  America  at  the  age  of  nine  years,  he  studied  art  in  Charleston, 
S.  C.,  where  he  began  the  practice  of  his  profession  as  a portrait- 
painter.  He  lived  for  some  time  in  Richmond,  Va.,  and  in  New  York, 
settling  finally  in  Philadelphia.  He  made  several  visits  to  Europe  ; 
in  1838  painting  fromlife  a portrait  of  Queen  Victoria,  now  in  the  pos- 
session of  the  St.  George’s  Society  of  Philadelphia.  Among  his  por- 
traits are  those  of  Lafayette,  in  Independence  Hall ; Fanny  Kemble ; 
Charles  Kemble  ; George  Frederick  Cooke,  and  others,  in  the  Acad- 
emy of  Fine  Arts,  Philadelphia.  His  portrait  of  Jefferson  belongs  to 
the  Military  Academy  at  West  Point ; that  of  Commodore  Decatur 
(at  Philadelphia  Exhibition  in  1876)  is  in  the  City  Hall,  New  York  ; 
those  of  Reverdy  Johnson  and  Charles  Carroll  are  in  Baltimore.  His 
“ Washington  crossing  the  Delaware  ” (so  familiar  in  America  by  the 
engraving)  is  in  the  Boston  Museum.  In  the  gallery  of  !M,  0.  Rob- 
erts are  his  “ Woman  at  the  Well  ” and  “ A Girl  offering  Flowers  at  a 
Shrine.” 

“Sally’s  organization  fits  him  to  sympathize  with  the  fair  and  lovely  rather  than  the 
grand  or  comic.  He  is  keenly  alive  to  the  more  refined  phases  of  life  and  nature.  Hi.s 
pencil  follows  with  instinctive  truth  the  primdples  of  genuine  taste.  His  forte  is  the 
graceful.  Whatever  faults  the  critics  may  detect  in  his  works  they  are  never  those  of 
awkwardness  or  constraint.  He  exhibits  the  freedom  of  touch  and  the  airiness  of  out- 
line which  belong  to  spontaneous  emanations The  series  of  illustrations  that 

Sully  commenced  are  happily,  but  not  forcibly  conceived.  Portia  is  fair  and  dignified, 
but  not  sufficiently  vigorous.  Is.abella  is  as  chaste  and  nun-like  as  Shakspere  made  her, 
but  her  dormant  and  high  enthusiasm  docs  not  enough  appear;  Miranda,  a character 
better  a<lapted  than  either  to  Sally’s  pencil,  has  an  arch  simplicity  caught  from  Nature 
herself.”  — Tuckerman’s  Book  of  the  Artists. 

Sunol,  Geronimo.  (Span.)  Medal  at  Paris  in  1867.  At  Piiila- 
delphia  he  exhibited  “ Dante,”  in  bronze,  and  received  a medal.  [No 
further  authoritative  information  could  be  obtained.] 

Sussmann,  Hellborn  Louis.  (Ger.)  Born  at  Berlin,  1828.  Mem- 
ber of  the  Academy  of  Rotterdam.  Medals  at  Berlin,  Brussels, 
Munich,  Paiis,  and  the  Bavarian  medal  of  Louis.  Pupil  of  Berlin 
Academy  and  of  Professor  Wredow.  He  has  spent  much  time  in 
Italy,  and  has  traveled  considerably  in  Europe.  Among  his  impor- 
tant works  are  the  statues  of  “Frederick  the  Great  ” and  “ Frederick 
William  III.,”  for  the  grand  salon  of  the  Berlin  Rathhaus  ; a statue  of 
“ Frederick  the  Great  in  Youth,”  and  a copy  of  “Frederick  William 
III.,”  for  the  city  of  Breslau ; and  a statue  of  “ Frederick  the  Great  as 
d Warrior,”  in  bronze,  for  Brieg  (erected  in  1878).  His  “ Drunken 
Faun”  is  at  the  National  Gallery,  Berlin.  To  the  Paris  Exposition, 
1878,  he  contributed  a group,  in  marble,  called  “ Lyric  Poetry  and 
Popular  Song.” 

Suydam,  James  A.,  N.  A.  (Am.)  Born,  in  New  York  (1817- 


280  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


1865).  He  traveled  through  Greece,  Turkey,  and  other  parts  of  the 
East  with  Minor  C.  Kellogg,  and  from  him  received  the  first  rudi- 
ments of  art.  On  his  return  to  America  he  painted  for  some  time 
with  Kellogg,  and  later  with  Durand  and  Kensett,  executing  in  the 
studio  of  the  last  named  some  of  his  best  pictures.  The  most  satis- 
factory of  his  works  were  coast  views,  although  at  times  he  was  very 
happy  in  his  views  of  the  White  Mountains,  etc.  He  was  a full  mem- 
ber of  the  Academy  of  Design,  elected  about  1856.  When  the  budd- 
ing of  the  present  Academy  in  New  York  was  projected  Mr.  Suydam 
was  instrumental  in  procuring  large  subscriptions  towards  that  object, 
and  took  a very  prominent  part  in  its  construction.  He  was  made 
Treasurer  of  the  Academy,  a position  he  held  until  his  death.  He 
bequeathed  to  it  the  pictures  now  in  its  possession,  known  as  the 
“ Suydam  Collection,”  as  well  as  a large  sum  of  money.  He  was  de- 
voted to  his  art.  One  of  his  most  agreeable  pictures  was  a twilight 
with  the  New  London  lighthouse  in  the  distance  (in  the  Olyphant 
Collection).  A “ View  on  Long  Island,”  with  harvesting  of  salt  hay, 
(one  of  his  most  important  works),  is  no^v  in  the  possession  of  his 
nephew,  William  A.  Eeese.  His  “ Hook  Mountain  on  the  Hudson  ” 
belongs  to  S.  Clift. 

Swertchkow,  Nicolas.  (Russian.)  Born  at  St.  Petersburg. 
Chevalier  of  the  Legion  of  Honor.  Professor  at  the  Academy  of  St. 
Peteisburg.  Studied  in  his  native  city,  and  paints  genre  subjects  and 
animals,  such  as  “ The  Kabitka  in  the  Snow,”  “ The  Village  Wed- 
ding,” “ Travelers  Astray,”  “ Landscape  in  Winter,”  etc.  This  artist 
has  exhibited  his  works  in  Paris,  London,  and  Brussels.  In  1863,  the 
year  of  his  decoration,  he  sent  to  Paris,  “ A Horse  Fair  in  the  Interior 
of  Russia,”  “ Station  for  Post-Horses,”  and  “ The  Return  from  the 
Bear-Hunt”;  in  1864,  “A  Child  fallen  from  a Sleigh  during  the 
Night,  found  in  the  Morning  safe  and  well,  in  the  midst  of  Wolves” 
ami  “ Russian  Travelers  in  Sleighs  meeting  in  the  midst  of  the  Woods.” 

Sylvestre,  Joseph-NoeL  (Fr.)  Born  at  Beziers,  1847.  Medals, 
1875  and  ’76.  Priz  du  Salon,  1876.  Pupil  of  Cabanel.  In  1S76  he 
exliibited  a very  remarkable  picture  of  “ Locuste  testing,  in  the  Pres- 
ence of  Nero,  the  Poison  prepared  for  Britannicus.”  Much  has  been 
written  and  said  of  this  picture.  It  is  called  “ horrible,”  “ wonderful,” 
“ magnificent,”  and  “ detestable,”  and  all  these  epithets  may  be  legiti- 
mately used.  It  is,  in  a word,  a powerful,  reaRstic  representation  of 
a scene  without  a trace  of  anything  good  or  jilea-sing,  but  a scene 
which  gives  an  opportunity  for  the  display  of  artistic  skill  and  knowl- 
edge. It  is  in  the  Luxembourg.  In  1875  Sylvester  exhibited  “The 
Death  of  Seneca”  ; in  1873,  “ Jeu  de  Bergers”  ; in  1878,  “ The  Last 
Moments  of  Vitellus  Coesar.” 

Tadolini,  Adam  Scipione.  (Ital.)  Born  at  Bologna  (1789- 
1870).  Professor  of  the  Academy  of  Bologna.  PupU.  of  Canova. 
Among  the  works  of  this  celebrated  sculptor  are,  “ T enus  and  Love,” 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  281 


for  Prince  Hercolani ; “ The  Eape  of  Ganymede,”  for  Prince  Ester- 
hazy  ; the  Tomb  of  Cardinal  Laute,  for  the  city  of  Bologna  ; statue 
of  “ St.  Francis  de  Sales,”  for  St.  Peter’s  at  Rome  ; a colossal  “ St. 
Michael,”  for  the  late  Mr.  Gardner  Brewer  of  Boston  (for  which  Va- 
pereau  says  the  artist  received  200,000  francs). 

Signora  Tadolini,  wife  of  this  artist,  made  a reputation  as  an  en- 
graver of  cameos. 

Tait,  Arthur  F.,  N.  A.  (Brit.-Am.)  Born  in  Liverpool,  1819.  In  1850 
he  removed  to  America,  settling  in  N ew  Y ork,  where  his  professional  life 
has  been  spent.  He  has  studied  from  nature  in  the  Adirondack  regions 
and  elsewhere  during  the  summer  months,  but  has  had  no  regular  in- 
struction in  art  from  any  teacher,  and  belongs  to  no  school  of  painting. 
He  is  a member  of  the  Artists’  Fund  Society,  and  was  elected  mem- 
ber of  the  National  Academy  in  1858.  He  spent  four  months  in  Eu- 
rope in  1874,  never  painting  professionally  out  of  America.  To  the 
National  Academy,  in  1868,  he  contributed  “ A Duck  and  her  Young”  ; 
in  1869,  “ Ruffled  Grouse  ” ; in  1870,  “ Our  Pets  ” (painted  in  part 
by  James  M.  Hart);  in  1871,  “Woodcock  Shooting”  (belonging  to 
John  C.  Force)  and  “The  Halt  on  the  Carry”  (belonging  to  Henry 
D.  Polhemus)  ; in  1873,  “ Racquette  Lake”  ; in  1874,  “The  Bogert 
Homestead,  Eagleswood,  N.  J.”  ; in  1876,  “ There ’s  a Good  Time 
coming”  ; in  1878,  “A  Good  Point”  and  “Lake  Trout”  (belonging 
to  John  E.  Sidman).  To  the  Centennial  at  Philadelphia,  in  1876,  he 
sent  “ The  Portage,  — Waiting  for  the  Boats,”  also  painted  in  conjunc- 
tion with  James  M.  Hart.  His  “ Snowed  In  ” is  owned  by  Judge 
Hilton  of  New  York,  and  other  works  are  in  the  possession  of  John 
Osborn,  James  B.  Blossom,  Charles  Blossom  of  Brooklyn,  and  others. 

Tait,  John  R.  (Am.)  Born  in  Cincinnati,  1834.  He  displayed 
artistic  talents  as  a child,  but  did  not  follow  painting  as  a profession 
until  somewhat  advanced  in  manhood.  He  went  abroad  in  1852, 
painting  as  an  amateur  in  Florence  and  Rome  for  a few  years,  but 
devoting  himself  chiefly  to  literature,  publishing  a book  of  travels, 
and  later,  in  1859,  a volume  of  poems  entitled  “ Dolce  Far  Niente,” 
both  of  which  were  very  favorably  received.  He  went  again  to  Eu- 
rope in  1859,  and  spent  some  twelve  j^ears  in  Drisseldorf,  broken  by 
occasional  visits  to  America,  and  by  sketching-tours  in  nearly  every 
country  of  Europe.  In  Drisseldorf  and  Munich  his  teachers  were 
Professors  A.  Weber  and  Andreas  Achenbach,  but  since  1870  he  has 
pursued  his  studies  independently  in  a direction  diverging  from  the 
Diisseldorf  school.  In  1871  and  ’72  he  received  the  first-class  medals 
of  the  Art  Department  of  the  Cincinnati  Industrial  Exhibition.  Com- 
paratively few  of  Mr.  Tail’s  pictures  have  found  their  way  to  America. 
They  have  been  exhibited  in  the  Salons  of  Paris,  in  London,  Vienna, 
Berlin,  etc.,  and  have  been  sold  in  those  cities.  His  first  picture  was 
bought  by  Major,  afterwards  General,  Philip  Kearney,  U.  S.  A.  His 
“ Waterfall,  Pyrenees  ” is  in  the  collection  of  James  Caird,  Gourock 


282  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


House,  near  Greenock  on  the  Clyde;  his  “Meyringen”  belongs  to 
James  Staats  Forbes,  Wickenhara  Hall,  Kent ; Prince  Heinrich  XVIII. 
of  Reuss  owns  his  “Waterfall”  ; Hon.  William  S.  Groesbeck  of  Cin- 
cinnati, his  “ Lake  of  Wallenstadt  ” ; Hon.  George  Vickers  of  Balti- 
more, his  “ Solitude.”  His  “ Evening  on  the  Lake  ” and  “ Tyrolese 
Idyl  ” were  at  the  Paris  Salon  of  1876  ; to  the  Centennial  Exhibition, 
Philadelphia,  1876,  he  sent  “ Summer.”  Recently  he  has  been  a resi- 
dent of  Baltimore,  Md. 

“ Jolm  R.  Tait  exhibits  a large  landscape  with  cattle  which  reminds  one  of  the  best 
examples  of  tlie  old  Dutch  painters,  without  any  sacrifice,  however,  of  the  artist’s  indi- 
viduality. Foiiage,  water,  air,  and  the  figures  are  treated  with  equal  success,  and  a 
breath  of  the  most  channing  lyric  poetry  pervades  the  whole,  so  that  the  picture  belongs 
among  the  best  of  the  present  Exhibition.  ” — Munich  News  {Bavaria),  April,  1S73. 

“ Mr.  Tait  exhibited  here,  several  years  ago,  a few  pictures  which  showed  a decided 
force  and  originality  ; but  they  were  touched  with  a savage  gloom  which  rendered  them 
not  altogether  pleasing.  In  his  more  recent  style  he  has  chosen  the  sweeter  and  gentler 

moods  of  nature The  landscapes  are  in  the  main  well  drawn.  In  color  they  are  not 

brilliant ; we  should  say  that  the  aim  of  Mr.  Tait  is  chiaroscuro  rather  than  color.  His 
skies  are  nearly  always  luminous,  full  of  space  and  air ; he  sets  a tree  against  the  sky 
with  a very  felicitous  relief.”  — Baltimore  Gazette,  July,  1ST6. 

Tantardini,  Antonio,  Commander.  (Ital.)  Medals  at  London, 
Berlin,  Oporto,  and  Vienna.  He  resides  at  Milan,  and  is  one  of  tbe 
first  sculptors  of  tbe  Lombard  school,  and  shows  by  his  work  a careful 
study  of  Greek  masters  and  of  the  best  examples  of  the  cinque-cento. 
His  statues  of  the  “ Bagnante  ” and  the  “ Pompeiana  ” were  exhibital 
at  Philadelphia,  where  he  was  one  of  the  art  judges.  His  statues,  “ II 
primo  dolore,”  “ La  Schiava,”  “ La  Leggitrice,”  and  “ La  Vanita,”  are 
among  his  best.  His  statue  of  Arnoldo  da  Brescia  was  put  in  marble 
for  Antonio  Traversi,  and  was  erected  in  Desio  near  Milan.  To  the 
Paris  Exposition,  1878,  he  .sent  “The  Kiss”  (a  group  with  a pedestal 
in  marble).  His  “ Leggitrice  ” (Reading  Girl)  is  now  in  the  collec- 
tion of  Mr.  Probasco  of  Cincinnati. 

Tardieu,  Pierre-Alexandre.  (Fr.)  Born  at  Paris  (1756  - 1844). 
Member  of  the  Institute,  and  Chevalier  of  the  Legion  of  Honor.  This 
celebrated  engraver  was  descended  from  a family  in  which  there  had 
been  several  artists.  His  works  were  excellent  from  his  early  years, 
and  some  of  them  are  now  valuable.  He  was  skilled  in  the  processes 
of  Audran,  Edelinck,  and  Nanteuil,  and,  having  the  gift  of  imparting 
knowledge,  was  a successful  instructor.  Among  his  pupils  were 
Desnoyers,  Bertonnier,  and  Aubert.  Among  his  plates  are,  “ St.  ^li- 
chael,”  after  Raphael ; “The  Communion  of  St.  Jerome,”  after  Do- 
menichino  ; “ J udith  and  Holofernes,”  after  Allori ; the  portraits  of 
Henry  IV.  of  France,  after  Janet  and  Pourbus  ; two  of  ^ oltaire,  after 
Lagilliere  and  Houdon  ; ilarie  Antoinette,  after  Dumont ; the  Eail 
of  Arundel,  after  Vandyck  ; etc.  His  plates  number  ninety.  After 
his  death  kime.  Tardieu  refused  large  offers  from  merchants  for  the 
plates  of  her  husband,  and  in  order  to  preserve  them  intact,  she  gave 
to  the  Calcographie  of  the  Louvre  all  those  which  she  possessed. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  283 


Tatkeleff,  Vogisny.  (Russian.)  Born  about  1813.  The  father  of 
this  painter  was  the  serf  of  a nobleman  in  the  Borissov  Government, 
who,  seeing  the  rude  charcoal  sketches  made  by  Vogisny  when  a 
child,  determined  to  educate  him.  When  fourteen  years  old  he 
painted  a good  portrait  of  his  benefactor,  who  unfortunately  lost  his 
fortune  when  the  artist  was  but  nineteen.  The  new  owner  of  the 
estate  forced  him  into  the  army,  where  he  was  obliged  to  serve  fifteen 
weary  years.  In  all  this  time  he  had  no  opportunity  to  display  his 
talent  until,  during  the  last  two  years,  being  stationed  at  Tiflis,  he  was 
allowed  to  fresco  the  walls  of  the  dining-room  of  the  house  of  a rela- 
tive of  his  colonel.  He  was  too  poor  to  dream  of  buying  materials 
for  his  work.  In  1849  he  was  discharged,  and  went  home  to  find  his 
parents  dead.  His  master  was  also  dead,  and  in  his  widow  he  found 
a cultivated  and  liberal  woman.  Tatkeleff  asked  of  her  the  position  of 
teacher  in  the  village  school.  When  she  discovered  his  talent  she  fur- 
nished him  with  means  to  complete  his  studies,  but  stipulated  that  he 
should  not  leave  Russia,  and  that  she  should  have  her  choice  of  his 
works.  The  artist  was  now  happy,  and  made  many  pictures  which 
were  hung  on  the  walls  of  the  chateau  of  his  mistress.  In  1854  he 
went  with  her  son  to  the  Crimean  war,  and  there  partially  lost  his 
eyesight.  His  benefactress  died  ; the  son  would  do  nothing  for  the 
painter,  who,  by  making  designs  for  a publishing-house  at  Kiev,  man- 
aged to  exist.  About  1870  a tourist,  who  saw  'the  .sketch-book  of 
Tatkeleff,  exacted  a promise  from  him  to  send  some  works  to  Moscow 
for  exhibition.  For  months  he  could  not  buy  the  paints  and  canvas 
necessary,  but  at  last  two  pictures  were  finished,  and  sent  to  the  Art 
Exposition  in  Moscow  of  1873.  They  represented  scenes  in  the  Cri- 
mean war,  and  made  the  artist  famous  in  a day.  They  were  pur^ 
chased  for  the  gallery  of  the  Winter  Palace  of  St.  Petersburg  for 
60,000  roubles.  The  Moscow  Gazette  said  of  them  ; — 

“The  impression  which  they  produce  upon  the  beholder  is  almost  overwhelming,  — 
such  terrible  reality,  such  wonderful  grouping,  such  superb  coloring,  truly  Horace  Vernet 
never  painted  anything  better  in  his  palmiest  days,  if  his  productions  are  at  .all  worthy 
to  be  mentioned  side  by  side  with  those  of  the  Russian,  whose  two  paintings  have  sud- 
denly made  him  famous  and  raised  him  from  poverty  and  obscurity  to  wealth.” 

As  no  one  had  ever  heard  of  this  artist,  the  editor  of  the  Gazette 
sent  some  one  to  Borissov  for  information  about  him,  and  Tatkeleff 
himself  went  to  Moscow,  where,  on  March  6,  1873,  Count  Baranowicz, 
the  president  of  the  Art  Exhibition,  presented  him  to  an  assembly 
attended  by  many  of  the  elite  of  Russian  society.  He  is  described  as 
follows,  in  the  Baltic  Gazette  of  that  time  : — 

“ Imagine  a little  slender  man  of  sixty,  with  the  head  of  a child,  almost  beardless, 
only  a few  tufts  of  silver-gray  hair  on  his  scalp,  with  small,  elegant  hands  and  feet, 
plainly  clad  in  the  nation.al  costume  of  the  middle  classes,  with  the  timid  m.anners  of  a 
little  girl,  and  you  have  before  your  eyes  the  man  who  henceforth  will  number  with  the 
great  i)aiuters  of  modern  times.” 


284  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Tayler,  Frederick.  {Brit.)  Bom  in  1804.  Was  a pupil  of  the 
Eoyal  Academy,  studying  also  in  Italy  and  Paris.  In  1828  or  ’30  he 
was  made  Associate  of  the  Society  of  Painters  in  Water-Colors,  a full 
Member  in  1835,  and  President  in  1857.  He  has  taken  an  active  part 
in  its  affairs,  and  contributed  regularly  to  its  exhibitions.  Among  his 
later  works  are,  “ Taking  in  the  Game,”  Otter-Hunting  in  the  High- 
lands,” “ After  the  Battue,”  “ Waiting  for  the  Hounds,”  “ A Hawking- 
Party,”  “A  Meet  in  the  Forest,”  “Business  and  Pleasure,”  “Rustic 
Surgery,”  “ A Hunting  Morning,  — Time,  George  II.,”  “ Sherwood 
Forest,  — Hounds  in  Full  Cry,”  etc.  His  “Gamekeeper’s  Daughter,” 
“Cattle  Ferry-Boat,”  and  “Woodland-Hunting”  were  at  Paris  in 
1878. 

“For  instance,  there  are  few  drawings  of  the  present  day  that  involve  greater  sensa- 
tions of  power  than  those  of  Frederick  Tayler.  Every  dash  tells,  and  the  quantity  of 
effect  obtained  is  enormous  in  proportion  to  the  apparent  means.  Brilliant,  beautiful, 
and  bright,  as  a sketch,  the  work  is  still  far  from  perfection  as  a drawing.*’  — Buskin’s 
Modevn  Painters. 

“ I should  say,  judging  from  Jfr.  Tayler’s  skillful  and  rapid  manner  in  water-color 
sketching,  and  from  the  ability  displayed  in  the  few  etchings  of  his  that  have  been  pub- 
lished, that  he  had  all  of  the  natural  gifts  of  a first-rate  etcher,  and  nearly  all  the  knowl- 
edge ; nothing  having  been  wanting  to  the  full  development  of  his  powers  in  that  direction, 
but  their  culture  on  a larger  scale  in  works  issued  independently.  *’  — Hamerton’s  Etching 
and  Etchers. 

Tayler,  Norman.  (Brit.)  Son  of  Frederick  Tayler.  He  wa.s 
elected  an  Associate  Member  of  the  Society  of  Painters  in  Water- 
Colors  in  1878,  when  he  exhibited  “ In  the  Valley  where  the  Daisies 
Grow,”  “Rainy  Weather,”  and  “ The  Nearest  Way  to  the  Farm.” 

Tenerani,  Pietro.  (Ital.)  Born  at  Tarrano,  near  Carrara  (1798  - 
1870).  General  Director  of  the  iluseums  and  Galleries  of  Rome. 
Member  of  many  Academies  and  Knight  of  several  Orders.  He  also 
received  honors  from  various  Royal  personages.  He  was  in  effect  a 
Roman.  He  was  an  indefatigable  worker,  often  passing  the  night 
with  chisel  in  hand.  His  art  was  his  life,  his  love,  his  religion,  and  it 
brought  him  riches  and  honors.  No  adequate  list  of  his  works  can 
be  given  here.  At  Rome,  in  the  Via  Nazionale,  in  1876,  a museum 
was  opened  containing  more  than  four  hundred  and  fifty  works  and 
studies  of  Tenerani’s.  His  “ Psyche  ” was  a famous  work  ; a model 
of  it  is  in  the  Leipsic  Museum.  He  was  much  influenced  by  Thor- 
waldsen,  and  with  him  executed  the  monument  to  Eugene  Beauhar- 
nais,  erected  at  Munich. 

Ten  Kate,  Hermann  Frederic  KarL  (Dutch.)  Born  at  The 
Hague,  1822.  Ten  Kate  was  a Commissioner  of  the  Netherlands  to  the 
Exposition  of  1878.  Medals  at  The  Hague,  Philadelphia,  and  other 
places.  Pupil  of  Kruseman  at  Amsterdam.  He  spent  a year  in  Paris. 
He  lives  at  The  Hague.  His  “ Fishers  of  Marken  ” (1857)  is  at  the 
Museum  of  Bordeaux.  Among  his  works  are,  “The  Military  En- 
rollment,” “Une  fete  champetre,”  “Political  Discussions,”  “The  Pater- 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  285 


nal  Benediction,”  and  “ Calvinist  Prisoners  under  Louis  XIV.”  “ The 
Wood-Gatherers  ” is  in  the  collection  of  Mrs.  H.  E.  Majniard  of  Bos- 
ton. To  Paris  in  1878  he  sent  three  pictures  in  oil  and  two  in  water- 
colors. 

Tennant,  John.  {Brit.)  (1796-1873.)  Originally  a merchant’s 
clerk,  his  decided  talent  for  art  was  made  so  manifest  that  he  entered 
the  studio  of  a landscape-painter  when  stiU  a young  man,  and  made 
for  himself  a fair,  if  not  high,  reputation  in  the  profession.  He  was 
a member  of  the  Society  of  British  Artists  for  many  years,  and  for  a 
long  time  its  Honorary  Secretary.  He  visited  and  painted  during  a 
large  portion  of  his  life  in  Wales  and  Devonshire,  many  of  his  works 
being  scenes  of  those  sections. 

“ Tennant’s  landscapes  are  of  a character  which  could  not  fail  to  invite  attention  for 
picturesqueness  and  appropriate  treatment,  if  not  for  higher  qualities  of  art”  — Art 
Journal,  .Tune,  1873. 

Tenniel,  John.  {Brit.)  Born  in  London,  1820.  He  displayed 
a taste  for  art  at  an  early  age,  and  had  a picture  on  exhibition  at  the 
Gallery  of  British  Artists  while  he  was  still  a lad.  He  had  little  or 
no  instruction.  In  the  cartoon  competition  for  the  decoration  of 
Westminster  Hall,  in  1845,  he  won  a prize,  and  executed  one  of  the 
frescos  in  the  Palace  of  Westminster.  His  most  successful  work  has 
been  done  in  black  and  white.  He  paints  only  occasionally,  and 
rarely  exhibits.  In  1851  he  joined  the  staff  of  Punch,  and  has  con- 
tributed many  illustrations  to  that  journal.  He  has  also  illustrated 
Once  a Week,  “ The  Ingoldsby  Legends,”  “ Lalla  Eookh,”  and  other 
books  and  magazines. 

‘‘When  Mr.  Tenniel  first  associated  himself  with  Punch  it  was  thought  generally 
that  his  abilities  were  of  too  classic  an  order  for  the  duty  he  had  undertaken,  .... 
but  he  had  too  much  confidence  in  the  pictorial  strength  he  possessed  to  feel  that  he  need 
limit  himself  to  a particular  sphere,  and  hence  he  persevered  with  his  pencil  until  in  time 
he  became  inoculated,  as  it  were,  with  a sense  of  humor  which  has  not  been  subordinate 
to,  but  has  served  to  stimulate,  his  graphic  powers.”  — Hodder’s  Memoir  of  my  Time. 

Terry,  Luther.  {Am.)  American  painter  resident  for  many  years 
in  Rome,  where  he  has  executed  historical,  portrait,  and  genre  com- 
positions, following  closely,  it  is  said,  the  manner  of  the  old  masters. 
He  visited  the  United  States  in  1874,  but  his  pictures  are  rarely  seen 
in  his  native  country. 

Teschendorff,  Emil.  {Ger.)  A young  artist  of  Berlin,  where  his 
studio  now  is,  and  where  he  exhibited,  in  1877,  “ Troubled  Days  ” 
and  “ A Nymph  and  Satyr,”  besides  two  water-color  drawings  which 
attracted  much  attention.  His  works  are  as  yet  but  little  known 
out  of  his  native  country,  but  he  is  a young  painter  of  promise. 

Thackeray,  William  M.  {Brit.)  Born  in  India  (1811 -1863). 
Was  educated  at  the  Charter-House  School  and  at  Cambridge  Uni- 
versity. Traveled  upon  the  Continent,  and  for  some  time  resided  in 
Paris,  studying  art,  and  copying  the  pictures  of  the  Louvre.  The 
practical  following  of  the  profession  he  abandoned  for  literature,  iUus- 


286  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


trating,  however,  and  very  cleverly,  his  “ Comic  Tales  and  Sketches,” 
“ Irish  Sketch-Book,”  “ Vanity  Fair,”  “Pendennis,”  etc.,  besides  draw- 
ing for  Punch.  A volume  entitled  “ Thackerayana,”  published  by 
Chatto  and  Windus,  London,  in  1875,  contains  nearly  six  hundred  of 
his  original  drawings  and  sketches,  and  fully  establishes  his  claims  to 
an  honorable  position  among  the  artists  of  the  nineteenth  century. 

“We  can  hardly  agree  with  those  who  hold  that  Thackeray  failed  a.s  an  artist  and 
then  took  to  his  pen.  There  is  no  proof  of  failure.  HLs  art  accomplishes  all  he 
set  it  to.  Had  he,  instead  of  being  a gentlenaan’s  son,  been  bom  in  the  parish  of  St 
Bartholomew  the  Great,  and  apprenticed,  let  us  say,  to  Raimbach  the  engraver,  we 
might  have  had  another,  and,  in  some  ways , a subtler  Hogarth.  He  draws  well ; his 
mouths  and  noses,  his  feet,  his  children’s  heads,  all  his  ugly  and  queer  ‘ mugs,’  arc 
wonderful  for  expression  and  good  drawing.  With  beauty  of  man  or  woman  he  is  not  so 
happy  ; but  his  fun  is,  we  think,  even  more  abounding  in  his  cuts  than  in  his  words."  — 
Dr.  John  Brown,  in  Span  Hours. 

“ If  it  was  one  of  Thackeray’s  few  fanciful  griefs  that  he  was  not  destined  fora  painter 
of  the  grand  order,  it  doubtless  consoled  him  to  lind  that  the  happier  gift  of  embodying 
that  abstract  creation,  an  idea,  in  a few  strokes  of  the  pencil,  was  his  beyond  all  ques- 
tion, and  this  graceful  faculty  he  was  accustomed  to  exercise  so  industriously  that 
myriad  examples  survive  of  the  originality  of  his  invention  as  an  artist.”  — Introduction 
to  Thackerayana. 

“ Thackeray,  in  reply,  sent  a caricature  portrait  of  himself,  drawn  by  his  own  hand, 
and  representing  a winged  spirit,  in  a flowing  robe  and  si)ectacles  on  nose.  Thackeray, 
in  early  life,  h.ad  taken  to  painting,  and,  perhaps,  if  he  had  pursued  his  first  vocation, 
he  might  have  come  in  time  to  handle  the  brush  as  well  as  he  afterwards  handled  the 
j)en.  At  any  rate  the  drawing  in  question,  as  I can  bear  witne.ss,  was  enough  to  bring 
tears  into  your  eyes  for  laughing."  — Taylor’s  Thackeray  the  Humorist,  etc. 

“ If  he  had  had  his  choice  he  would  rather  have  been  famous  as  an  artist  than  as  a 
writer  ; but  it  was  destined  that  he  should  paint  in  colors  which  will  never  crack  and 
never  need  restoration.  All  his  artist  experience  did  him  just  as  much  good  in  litera- 
ture as  it  could  have  in  any  other  way,  and  in  traveling  through  Europe  to  see  pictures 
he  learned  not  only  them,  but  men,  manners,  and  languages.”  — James  Hannay,  in  the 
Edinburgh  Courant. 

Thayer,  Abbott  H.  {Am.')  Born  in  Boston,  1849,  and  brought 
up  in  the  country,  where  he  became  familiar  with  the  brute  creation, 
the  painting  of  which  has  been  his  specialty.  He  began  to  paint 
from  nature  Avithout  instruction  tvhen  a child  of  eight  years.  Later, 
he  studied  under  Henry  D.  Morse.  In  1867  he  settled  in  Brooklyn, 
studying  under  J.  B.  Whittaker  in  the  Brooklyn  Academy  of  Design, 
gaining,  in  1868,  the  gold  medal  for  the  best  drawing  from  the  an- 
tique. After  a few  years  he  took  a studio  in  New  York,  drawing  in 
the  Antique  Life  Schools  of  the  National  Academy,  under  L.  E.  Wil- 
marth.  He  went  to  Paris  in  1875,  where  he  entered  I’Ecole  des 
Beaux- Arts,  working  with  Lehmann,  and  afterwards  in  the  studio  of 
Gerome.  Among  his  more  important  pictures  are,  “Young  Lions  of 
Central  Park,”  life  size  (belonging  to  W.  H.  Thayer,  M.  D.,  of  Brook- 
lyn), “ Gray  Wolf  ” (belonging  to  A.  J.  C.  Skene,  M.  D.),  “ Ice  in 
the  River”  (to  G.  C.  Brackett),  “Cows  coming  from  Pasture”  (to 
Dr.  H.  P.  Farnham),  “Feeding  the  Cows”  (to  Mrs.  J.  0.  Stone), 
“ Boy  and  Dog  ” (to  Rev.  A.  P.  Putnam),  “ Shamming  Sick  ” (to 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  287 


J.  0.  Low),  “ Autumn  Cornfield  ” (to  Mrs.  Bullard  of  New  York), 
“ Hunter  waiting  for  Game  ” (to  F.  A.  Faulkner,  Keene,  N.  H.), 
“ View  on  the  Seine,”  “ Cloudy  Day  in  the  Pasture,”  “ Alderney 
Herd  in  Guernsey,”  “ Mountain  Pasture,”  “ Sleep,”  and  “ Child- 
hood” (Paris  Salon  of  1878),  exhibited  in  Brooklyn,  New  York,  and 
Paris.  His  “ Shamming  Sick,”  a pair  of  pictures  representing  a ter- 
rier dog  forgetting  feigned  illness  at  the  cry  of  “Rats  !”  was  drawn 
hy  the  artist  on  the  block  for  the  Aldine  in  1874,  and  copied  in  the 
London  Sporting  and  Dramatic  News  in  1876. 

“Mr.  Thayer’s  ‘Sleep’  loses  nothing  by  near  study  or  distant  view.  It  would  be 
hypercritical  to  find  fault  with  it  on  any  technical  grounds.  In  conception  it  is  most 

poetic Delicate  gradings  of  gray  and  white  carry  the  eye  far  back  behind  the 

perfectly  relieved  little  head,,  with  its  tender  tones  of  pearl  and  rose,  and  the  dark  spot 
of  color  (and  that  not  very  dark)  is  the  little  brown  puppy  that  sleeps  beneath  the  un- 
conscious hand  of  the  child.  Mr.  Thayer  has  been  studying  with  Geroine,  but  his  manner 
is  not  mannered,  as  many  of  the  rest  of  the  Beaux-Arts  students.”  — New  York  Inde- 
pendent, April  18,  1878. 

Theed,  William.  (Brit.)  Born  in  1804.  Highly  regarded  as  a 
sculptor  of  portrait  busts  and  statues,  executing  during  his  long  career 
many  of  the  most  distinguished  people  of  Great  Britain.  Among  the 
better  known  of  his  works  are  the  statues  of  Sir  Isaac  Newton,  in 
bronze,  at  Grentham;  and  in  marble,  group  of  the  Queen  and  Prince 
Albert,  in  early  Saxon  costume,  at  Windsor;  statue  of  the  Prince  Con- 
sort, at  Balmoral;  Duchess  of  Kent,  at  Frogmore;  Burke,  in  the  House 
of  Lords;  Sir  William  Peel,  at  Greenwich  Hospital;  the  late  Lord 
Derby,  at  St.  George’s  Hall,  Liverpool;  Sir  Robert  Peel,  at  Hudders- 
field; Hallam  the  historian,  at  St.  Paul’s  Cathedral;  Mackintosh  the 
historian,  at  Westminster  Abbey;  and  busts  of  John  Bright,  Sir  Henry 
Holland,  and  many  more.  He  is  also  sculptor  of  the  statue  repre- 
senting “ Africa,”  on  the  Albert  Memorial,  London. 

Tbirion,  Eugene-Romain.  (Fr.)  Born  at  Paris.  Chevalier  of 
the  Legion  of  Hf)nor.  Pupil  of  Picot,  Cabanel,  and  Fromentin.  In 
1872  this  artist  decorated  the  chapel  of  Saiut-Joseph  in  the  church 
of  the  Trinity  a t Paris,  and  he  also  worked  with  Baudry  in  the  decoration 
of  the  Hotel  Paiva.  His  painting  in  the  above  chapel  is  praised  by 
the  critic,  Roger  Ballu,  in  the  “Gazette  des  Beaux-Arts,”  February, 
1878.  At  the  Salon  of  1876  he  exhibited  “ Jeanne  d’Arc.”  She  is 
represented  as  a young  girl,  listening  to  the  voices  she  is  said  to  have 
heard  bidding  her  go  to  the  aid  of  the  King  of  France.  In  1875 
he  exhibited  “St.  Sebastian”  and  “ St.  Theresa”;  in  1874,  “ Rebecca 
at  the  Fountain ” and  “Field-Flowers”;  etc.  This  painter  has  also 
exhibited  many  portraits. 

Thom,  James  Cra’wford.  (Brit.-Am.)  A native  of  America,  of 
Scottish  descent.  He  was  a pupil  of  Edward  Frere  in  Paris.  He 
has  lived  and  practiced  his  profession  in  England  and  in  the  United 
States.  He  first  exhibited  in  London,  at  the  Royal  Academy,  in  1864, 
“ Returning  from  the  Wood,”  followed  by  “ Tired  of  Waiting,”  “ Go- 


288  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


ing  to  School,”  and  “ The  Monk’s  Walk.”  In  the  French  Gallery, 
London,  he  has  exhibited,  at  different  seasons,  “ Household  Duties,” 
“ Children  returning  from  Church,”  “ Love  in  the  Kitchen,”  “ The 
Farmyard,”  “ Return  of  the  Conscript,”  etc.  He  sent  to  the  National 
Academy,  New  York,  in  1878,  a winter  landscape  with  figures,  and 
“Le  jour  de  la  Toussaint.”  His  “Summer ’’and  “ Winter  ” belong 
to  Henry  P.  Cooper  ; “ Kitten  and  Strawberries,”  to  Samuel  Y. 
Wright.  His  “ Day”  and  “ Night”  (panels),  and  “ Going  to  Church, 
Christmas  Eve,”  the  property  of  J.  M.  Burt,  were  at  Phihidelphia  in 
1876.  A number  of  his  landscapes  were  at  the  Mechanics’  Fair,  Bos- 
ton, in  1878. 

Thomas,  John  Evan.  {Brit.)  Native  of  Wales.  Died  in  1873 
at  an  advanced  age.  Was  a pupil  of  Chantrey,  and  exhibited  at  the 
Royal  Academy,  for  many  years,  portrait  busts  and  statues,  as  well  as 
ideal  figures  ; among  the  latter,  “ Music,”  in  1852,  and  the  “Racket- 
Player,”  in  1856.  He  is  the  author  of  the  statue  in  bronze  to  the 
Marquis  of  Bute  at  Cardiff,  of  the  statue  of  Wellington  at  Brecon, 
of  that  of  the  Prince  Consort  at  Tenby,  and  other  works  in  Wales 
and  other  parts  of  Great  Britain. 

Thomas,  William  Cave.  (Brit.)  Bom  in  London,  1820.  He  at 
first  turned  his  attention  to  sculpture,  and  entered  the  Royal  Acad- 
emy in  1838,  drawdng  and  modeling  for  two  years.  In  1840  he  went 
to  Munich,  where  he  studied  drawing,  and  executed  several  cartoons. 
He  returned  to  England  in  1843,  and  devoted  himself  for  a time  to 
oil-painting,  exhibiting  at  the  Royal  Academy,  in  1850,  “ Alfred  giv- 
ing his  last  Loaf  to  the  Pilgrims  ” ; followed  in  different  years  by 
“ Alfred  visiting  Churches  at  Early  Dawn,”  “ Rivalry,”  “ The  Prot- 
estant Lady,”  “ Petrarch’s  First  Sight  of  Laura,”  “ The  Heir  cast  out 
of  the  Yineyard.”  In  water-color  he  has  painted  “ The  Lord  of  the 
Harvest,”  “ The  Fruit-Bearer,”  “ Morning,”  “ Dante  and  Beatrice,” 
“ Sunset  on  Calvary,”  and  an  “ Ecce  Homo”  (belonging  to  the  late 
Prince  Consort).  He  received  a prize  of  £ 100  for  a cartoon  of  West- 
minster Hall,  “ St.  Augustine  preaching  to  the  Saxons,”  and  £ 400 
for  the  execution  of  “ The  Spirit  of  Justice,”  in  the  South  Kensing- 
ton Museum.  He  designed  also  several  decorations  for  the  Inter- 
national Exhibition  of  1862  in  London,  and  is  the  author  of  several 
valuable  books  upon  mural  decoration  and  social  economy. 

“ If  we  examine  Mr.  Cave  Thomas*  works  we  shall  find  them  characterized  by  a re- 
markable solidity  of  grouping,  which  contrasts  favorably  with  the  somewhat  sparse  dis- 
position of  members  prevailing  in  paintings  that  aspire  to  be  historical,  and  which, 
irrespective  of  this  weakness,  ai*e  not  contemptible.*'  — J.  L.  Tupper,  in  Eiiglish  Artists 
of  the  Present  Day. 

Thomas,  Gabriel- Jules.  (Fr.)  Bom  at  Paris,  1821.  Member 
of  the  Institute.  Chevalier  of  the  Legion  of  Honor.  Pupil  of 
Dumont  and  I’Ecole  des  Beaux-Arts.  Prix  de  Rome  in  1848.  His 
statue  of  “ Yirgil”  (1861)  is  in  the  Luxemboui^.  In  1876  he  exhib- 
ited at  the  Salon,  “ Christ  on  the  Cross,”  in  bronze  ; in  1872,  four 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  28!) 


figures  in  wood,  representing  the  four  quarters  of  the  glohe,  com- 
manded for  the  gallery  of  the  Hotel  of  Toulouse  by  the  Bank  of 
France  ; in  1870,  “ Thought”  (statue,  marble)  ; etc. 

Thomas,  George  H.  {Brit.)  (1824-1868.)  After  serving  an  ap- 
prenticeship to  G.  Bonner,  a wood-engraver  in  London,  he  went  to 
Paris,  where  he  made  designs  for  illustrated  books.  He  subsequently 
spent  two  years  in  New  York,  upon  the  stall’  of  a pictorial  journal, 
making  also  some  graceful  drawings  for  the  engraving  of  American 
bank-notes.  Eeturning  to  Europe  in  1848,  he  went  to  Italy  to  com- 
plete his  art  studies,  and  furnished  many  vivid  sketches  of  the  Gari- 
baldi campaign  of  1849  for  the  London  Illustrated  News.  He  visited 
the  Crimea  for  the  same  paper  in  1854,  the  original  of  many  of  his 
drawings  being  in  possession  of  the  Queen.  Among  his  oil-paintings 
are,  “ Rotten-Row,”  “ The  Ball  at  the  Camp  of  Boulogne,”  “ Parade  at 
Potsdam  in  Honor  of  Queen  Victoria  in  1858,”  “ Happy  Days,” 
“ Coronation  of  the  King  of  Prussia  ” (painted  by  command),  “ Mar- 
riage of  the  Princess  Alice,”  “ The  Queen  and  Prince  Consort  at 
Aldershot  in  1859,”  and  “The  Investing  of  the  Sultan  with  the  Order 
of  the  Garter,”  many  of  which  belong  to  the  Queen.  His  “ Apple- 
Blossoms  ” and  “ Masterless  ” were  at  the  Royal  Academy  in  1868, 
the  year  of  his  death.  His  happiest  book  illustrations  were  those  for 
Wilkie  Collins’  “ Armadale,”  and  the  delineations  of  negro  character 
for  “L^ncle  Tom’s  Cabin.” 

Thompson,  Cephas  G.,  A.  N.  A.  {Am.)  Born  in  Middleborough, 
Mass.,  1809.  He  obtained  something  of  the  mechanism  of  art  from 
his  father,  Cephas  Thompson,  an  artist  who  painted  a great  deal  in 
Southern  Italy,  but  he  was  comparatively  self-taught,  studying  and 
observing  closely  nature,  and  the  many  masters  he  has  known  inti- 
mately on  both  sides  of  the  Atlantic.  He  began  his  professional  career 
in  Plymouth,  Mass.,  when  nineteen  years  of  age,  finding  his  way  to 
Boston,  and  working  in  Bristol,  Providence,  and  Philadelphia.  He 
spent  ten  years  (18.37  to  ’47)  in  the  city  of  New  York,  painted  some 
forty  portraits  in  New  Bedford,  many  in  Boston,  and  went  to  Europe 
in  1852,  visiting  London,  Paris,  Florence,  and  Rome.  He  made  his 
home  for  seven  years  in  the  latter  city.  Since  1860  he  has  had  a 
studio  in  New  York.  He  is  an  Associate  Member  of  the  National 
Academy,  and  of  several  prominent  art  societies  of  Europe.  Mr. 
Thompson’s  works  are  owned  throughout  America,  and  many  speci- 
mens are  in  England,  Russia,  France,  etc.  Before  going  abroad,  he 
painted  a series  of  portraits  of  American  authors,  including  Hoffman 
(belonging  to  the  New  York  Historical  Society),  Dr.  Francis,  and 
others.  His  portrait  of  Hawthorne,  with  whom  in  Italy  he  was  on 
intimate  terms,  was  engraved,  and  is  in  the  edition  of  “ Twice-Told 
Tales  ” published  by  Ticknor  and  Fields.  His  full-length  portrait  of 
Dr.  Matthews,  the  first  President  of  the  New  York  University,  is  in 
the  president’s  room  of  that  institution.  His  portraits  of  William  C. 

VOL.  n.  13  s 


290  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Bryant  and  Mrs.  Bryant,  and  a copy  of  the  “ StafFa  Madonna  of  Ea- 
phael,”  belonged  to  the  venerable  poet.  C.  H.  Rogers  of  New  York 
has  his  “Guardian  Angel”;  Mr.  Wales  of  Boston,  “ Prospero  and 
Miranda”;  Ex-Governor  Padelford,  of  Providence,  R.  I.,  “St.  Peter 
delivered  from  Prison  ”;  Charles  Sprague,  the  banker-poet,  oumed  his 
“ Spring  and  Autumn  ” ; and  others  of  his  pictures  belong  to  the  family 
of  Hawthorne,  to  Mr.  Longfellow,  to  E.  H.  Miller,  to  George  BHss  of 
New  York,  and  to  Mrs.  Lee  Smith  of  Ravenswood,  N.  Y. 

“It  is  certainly  a beautiful  picture,  full  of  genius  and  spirit  [‘St.  Peter  led  from 
the  Prison  by  an  Angel  ’].  It  is  very  rarely  you  see  a production  so  effective  in  all  its 
parts.  The  background  equals,  without  rivaling  or  forcing  attention  from  the  promi- 
nent and  principal  objects  in  the  foreground.  The  depth  of  shadow  in  the  one  does  not 
prevent  its  distinctness  and  accuracy  of  outline  from  telling  a striking  tale,  while  the 
brightness  and  vividness  ol  the  figures  in  the  other  lastingly  impress  themselves  on  the 
eye  and  the  memorj'.’’  — Mrs.  Gibson,  in  the  Richmond  ( Va.)  Enquirer,  1859. 

“ Not  one  of  our  artists  has  brought  back  with  him  from  Italy  a more  thorough 
knowledge  and  ajipreciation  of  the  old  masters,  technically,  historically,  and  authen- 
tically, than  Cephas  G.  Thompson.  He  conscientiously  endeavors  to  infuse  their  lofty 
feeling  and  motives  into  his  own  refined  manner.”  — Jarves,  Art  Idea. 

“ ....  Or  we  might  bow  before  an  artist  who  has  wrought  too  sincerely,  too  relig- 
iously, with  too  earnest  feeling  and  too  deiicate  a touch,  for  the  world  at  once  to  recog- 
nize how  much  toil  and  thought  are  compressed  into  the  stately  brow  of  Prospero  and 
Jliranda’s  maids  in  loveliness ; or  from  what  a depth  within  this  painter’s  heart  the 
angel  is  leading  forth  St  Peter.”  — Hawthorne,  in  the  Marble  Faun. 

Thompson,  Jerome,  A.  N.  A.  {Am.)  Born  in  Middleborough, 
Mass.,  1814.  Son  of  Cephas,  and  younger  brother  of  Cephas  G.  Thomp- 
son, N.  A.  He  early  displayed  artistic  tastes,  and  began  his  career  as 
a sign-painter  in  the  neighborhood  of  his  native  town.  After  painting 
portraits  for  some  years  on  Cape  Cod,  he  went  to  New  York  at  the 
age  of  seventeen,  devoting  himself  from  that  period  to  the  study  and 
practice  of  his  art.  He  had  no  masters,  and  is  a graduate  of  no  schools. 
His  professional  life  has  been  spent  in  New  York.  In  1852  he  went 
to  Europe,  spending  two  years.  He  was  elected  an  Associate  of  the 
National  Academy  about  1850,  but  has  not  exhibited  in  its  gallery 
since  1863  or  ’64.  Although  still  painting,  his  pictures  are  not  shown 
by  him  to  the  public,  and  his  life  of  late  years  has  been  very  retired. 
Among  the  better  known  of  his  works  are,  “ Reminiscences  of  Mount 
Mansfield,”  “ The  Old  Oaken  Bucket,”  “ Home,  Sweet  Home,”  “ IVood- 
man,  spare  that  Tree,”  “ Hiawatha’s  Homeward  Journey  with  Minne- 
haha,” “ The  Home  of  my  Childhood,”  “ Coming  thro’  the  Eye,” 
“ The  Land  of  Beulah,”  “ The  Voice  of  the  Great  Spirit,”  and  many 
others,  none  of  which  have  been  exhibited  by  Mr.  Thompson,  although 
a few  have  been  sent  to  different  galleries  by  their  owners.  Many  of 
them  have  been  engraved  and  chromoed. 

“ Mr.  Jerome  Thompson  lias  painted  a very  beautiful  and  attractive  picture  illus- 
trating ‘ The  Old  Oaken  Bucket  ’ It  is  at  once  an  illustration  of  these  well-known 
verses,  and  a portrait  of  the  early  home  of  their  author  in  Scituate,  Mass.  While  he  has 
made  a picture  that  is  very  agreeable  to  look  at.  the  artist  has  not  attempted  to  secure 
the  pleasure  of  the  eyes  at  the  expense  of  truth,  by  dressing  his  subject  in  charms  that 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  291 


do  not  belong  to  it  He  has  done  ns  all  good  by  painting  this  unpretending,  truthful 
picture.”  — New  York  THhune,  May  14,  1868. 

“Jerome  Thoinijson,  whose  pictures  so  charm  the  natural  feelings  of  the  heart,  has 
gratified  the  public  with  another  work  from  his  easel,  ‘ Home,  Sweet  Home,’  a compan- 
ion to  the  * Old  Oaken  Bucket.*  It  is  an  ideal  creation,  and  so  truthful  to  nature  that 
all  ideality  is  lost,  ....  and  herein  lies  the  charm  of  Jerome  Thompson’s  i)encil  and  brush. 
Stand  before  the  picture,  and  the  longer  you  look,  the  more  vividly  will  you  recall  some 
half-forgotten  scene,  or  detect  the  unexplained  growth  from  a counterpart  from  out  the 
wilderness,  bounded  by  the  silvery  lines  of  memory.”  — New  York  Turf,  Field,  and  Farm, 
October  8,  1868. 

“The  * Beacon  Fire,’ another  work  by  the  same  artist,  Jerome  Thompson,  gives  a 

striking  picture  of  the  region  of  Lake  Pepin The  comi)Osition  is  quite  picturesque 

and  effective,  and  in  all  these  works  Mr.  Thompson  shows  the  jjleasing  charm  that  so 
endears  his  ballads  of  the  pencil  to  ingenuous  hearts  and  simi>le  tastes.”  — hew  York 
Home  Journal,  January  3,  1872. 

Thompson,  Launt,  IT.  A.  {Brit.- Am.)  Born  in  Ireland,  1833.  Ee- 
nio^ed  to  America  in  1847.  Settled  in  Albany,  N.  Y.  Entered  the 
office  of  a professor  of  anatomy  in  that  city,  and  subsequently  became 
a student  of  the  medical  college.  He  early  displayed  a talent  for  draw- 
ing, occupying  his  leisure  hours  with  his  pencil.  He  abandoned 
medicine  to  become  a pupil  of  the  sculptor  Palmer,  and  worked  in 
his  studio  in  Albany  for  nine  years.  In  1858  he  moved  to  New 
York,  was  made  an  Associate  of  the  National  Academy  in  1861,  and 
Academician  in  1862.  In  1875  he  took  a studio  in  Florence,  where 
he  still  remains  (1878).  Among  his  works  are  portrait  busts  of  Wil- 
liam C.  Bryant  (for  Central  Park),  of  James  Gordon  Bennett,  Eobert 
B.  Minturn,  Captain  Charles  Marshall,  Edwin  Booth  as  “ Hamlet,” 
Professor  Morse,  Dr.  Tyng  (1870),  Parke  Godwin,  and  C.  L.  Elliott, 
N.  A.  (1871).  Among  his  ideal  works  are,  “Elaine,”  “The  Trap- 
per,” “ Morning  Glory,”  and  “ Lily  Maid.”  His  statue  of  Napoleon 
(bronze)  and  a bust  of  a “ Eocky  Mountain  Trapper  ” were  at  the 
Paris  Exposition  of  1867. 

Thompson.  A.  Wordsworth,  N.  A.  (Am.)  Born  in  Baltimore, 
1840.  In  1861  he  went  to  Paris,  and  began  the  study  of  art  under 
Charles  Gleyre  in  1862,  and,  later,  was,  for  a time,  a pupil  of  Emile 
Lanibinet.  In  1864  he  entered  the  studio  of  Albert  Pasini,  working 
there  one  year.  His  first  publicly  exhibited  picture,  “ Moorlands  of 
Au-Fargi,”  was  at  the  Paris  Salon  of  1865.  In  1868  he  settled  in 
New  York,  since  then  his  home,  with  the  exception  of  occasional 
visits  to  Paris.  In  1873  he  sent  to  the  National  Academy  “ Desola- 
tion,” upon  the  strength  of  which  he  was  made  an  Associate  of  that 
institution  ; he  was  elected  Academician  in  1875.  In  1878  he  joined 
the  Society  of  American  Artists,  sending  to  their  first  exhibition,  the 
same  year,  “ The  Eoad  to  the  Saw- Mill.”  Among  the  better  known 
of  Wordsworth  Thompson’s  works  are,  “ The  Port  of  Menazzio,  Lake 
Como  ” (owned  by  William  H.  Davis  of  New  York),  “ Desolation  ” 
(now  in  Buffalo),  “ Steamboat-Landing  at  Menenazzio  ” (owned  by 
Mr.  Fairbanks  of  St.  Johnsbury,  Vt ),  “ Virginia  in  the  Olden  Times” 


292  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


(belonging  to  D.  H.  McAlpine,  N.  Y.),  “ The  Vesper  Hour  ” (to  ‘Wil- 
liam Brookfield,  N.  Y.),  “Annapolis  in  1776  ” (to  the  Academy  of 
Fine  Arts  in  Buffalo,  N.  Y.),  “ Traveling  in  Corsica  ” (to  Isaac  S. 
Platt).  To  the  Exhibitions  of  the  National  Academy  he  has  been  a 
regular  contributor  for  some  years,  sending,  in  1869,  “ View  of  Mount 
Etna”  ; in  1870,  “ PLeminiscence  of  the  Potomac  ” ; in  1871,  “ Even- 
ing on  the  Moor”  ; in  1874,  “ A Picnic  on  the  Rocks,  Lake  George”  ; 
in  1875,  “Gathering  Apples”;  in  1876,  “A  Midsummer’s  Day  on 
Long  Island”;  in  1877,  “ Pursuit  of  Knowledge  mider  Difficulties  ” 
and  “By  the  Sea,  Mentone”;  and,  in  1878,  “ A Review  at  Phila- 
delphia in  1777.”  He  sent  several  works  to  Philadelphia  in  1876, 
and  “ The  School-House  on  the  Hill  ” to  the  Paris  Exposition  of 
1878. 

“ Mr.  Thompson  has  caught  the  sorrowful  sentiment  of  the  scene  [‘  Desolation  and 
embodied  ali  its  poetry  and  romance.  Apart  from  its  merits  as  a work  of  art,  the  pic- 
ture will  be  valuable  as  an  historical  souvenir,  for  donluless  the  ruins  of  St.  Cloud  will 
before  long  be  cleared  away,  and  there  is  no  iirobability  of  the  palace  being  rebuilt.  We 
learned  afterwards,  as  we  guessed  from  his  work,  that  Mr.  Thompson,  starting  with  a 
genuine  vocation  for  art,  Imd  studied  it  with  rare  fidelity,  had  passed  years  in  the  ate- 
liers of  the  best  artists  of  Paris,  had  devoted  his  days  and  nights  to  careful  drawing  of 
the  human  figure,  from  the  marble  and  from  life,  that  in  pursuit  of  the  picturesque  he 
had  made  the  tour  of  Europe  on  foot,  etc.,  and  also  that  he  devoted  fully  as  much  time 
to  American  sceneiy,  making  not  merely  drawings,  but  elaborate  pictures  in  the  fields.” 

. — Boston  Daily  Globe,  May  7.  1873. 

“ A.  W.  Thompson  exliibited  ‘ On  the  Sands,  East  Hampton  ’ and  ‘ Virginia  in  the 
Olden  Times,’  both  works  showing  marked  evidence  of  discipline  and  carefnl  study. 
There  is  a tendency  towards  the  adoption  of  the  French  manner  in  this  artist’s  work, 
which  shows  whence  he  derived  this  discipline.  It  is  a question  whether  a better  man- 
ner may  not  be  derived  directly  from  nature  without  the  inten>osition  of  another's 
method  of  viewing  things.”  — Prof.  Weir’s  Official  Report  of  the  American  Centennial 
Exhibition  o/lS76. 

Thompson,  Elizabeth  (Mrs.  Butler).  (Brit.)  Born  about  1844. 
As  a child  she  evinced  a decided  taste  for  drawing  soldiers  and  horses. 
Entered  the  South  Kensington  schools  ; painted  for  some  years  as  an 
amateur,  and  did  not  exhibit  in  public  until  1873,  when  she  sent  to 
the  Royal  Academy  “ blissing,”  a picture  which  attracted  great  at- 
tention. In  1874  she  exhibited  her  famous  “Roll-Call”  (purchased 
by  the  Queen),  which  achieved  a popularity  for  itself  and  for  its 
painter  almost  without  precedent  in  the  history  of  art  in  England. 
Her  picture  of  “ The  28th  Regiment  at  Quatre-Bras  ” was  at  the  Royal 
Academy,  1875,  since  which  she  has  exhibited  at  private  galleries, 
“ Balaklava,”  in  1876,  and  “ The  Return  from  Inkerman  ” (purchased 
for  £3,000  by  the  Fine  Art  Society  in  1877).  Her  latest  work  (stiR 
on  the  easel)  is  “ ’Listed  for  the  Connaught  Rangers.”  Among  her 
other  works  is  “ The  Magnificat,”  a religious  picture  painted  in  1869. 

In  water-colors  Jliss  Thompson  has  painted  “ On  Duty,”  a trooper 
of  the  Scot’s  Grays  (1875);  “Scot’s  Grays  Advancing,”  “ Cavalry  at 
a Gallop,”  “Sketches  in  Tuscany  ” (1877).  etc.  “ The  Return  from 
Inkerman  ” was  at  the  Paris  E.xpo.sition  of  1873. 


AR7VSTS  OF  THE  NINETEENTH  CENTURY.  293 


“ I never  approached  a picture  with  more  iniquitous  prejudice  against  it  tlian  I did 
Miss  Thompson’s  [‘ Quatre-Bras ’],  partly  because  1 have  always  said  that  no  woman 
could  jiaint,  and  secondly  because  I thought  what  the  public  made  such  a fuss  about 
mast  be  good  for  nothing.  But  it  is  Amazon’s  work  this,  no  doubt  of  it,  and  the  first 
tine  pre-Raphaelite  picture  of  battle  we  have  had  ; profoundly  interesting,  and  showing 

all  manner  of  illustrative  and  realistic  faculty But  actually  here,  what  I suppose 

few  j-ieople  would  think  of  looking  at,  the  sky  is  most  ter.derly  ]iainted,  and  with  the 
truest  outline  of  cloud  of  all  in  the  Exliibition;  and  the  terrific  piece  of  gallant  wrath 
and  ruin  on  the  extreme  left,  when  the  cuirassier  is  catching  round  the  neck  of  his 
horse  as  he  falls,  and  the  convulsed  fallen  horse,  seen  through  the  smoke  below,  is  wrought 
through  all  the  truth  of  its  frantic  passion,  with  gradations  of  color  and  shade  which  I 
have  not  seen  the  like  of  since  Turner’s  death.  ” — Buskin’s  Notes  of  the  Academy,  1875. 

“ ‘ Inkermau  ’ is  simply  a marvelous  production  when  considered  as  the  work  of  a 

young  woman  who  was  never  on  the  field  of  battle No  matter  how  many  figures 

she  brings  into  the  scene,  or  how  few,  you  may  notice  character  in  each  figure  ; each  is 
a supreme  study.”  — Art  Journal,  August,  1877. 

It  would  be  natural  for  some  errors  to  appear  in  them  [‘Boll-CaU,’  ‘Quatre-Bras,’ 
and  ‘ Balaklava ’];  the  wonder  is,  considering  the  circumstances,  that  they  are  so  few. 
As  works  of  art  we  should  say  that  they  display  real  pathos  and  dramatic  power  in 
jiarts,  often  with  effective  drawing  of  the  horses.  But  the  power  is  too  scattered,  the 
composition  lacks  simplicity,  breadth,  concentration.  'While  isolated  groups  are  very 
well  conceived,  and  would  appear  well  as  separate  paintings  or  episodes,  they  do  not 
sufficiently  harmonize  to  form  the  unity  of  one  great  composition.  Tlie  coloring  is  also 
sometimes  very  good,  and  then  again  is  impaired  by  crude  unnatural  yellows  or  other 
tints  out  of  tone  with  the  rest.  Miss  Thompson’s  genius  seems  to  be  lyrical  rather  than 
epic.”  — Benjamin’s  Contemporary  Art  in  Europe. 

Thompson,  Albert.  (Am.)  Bom  at  Woburn,  Mass.,  1853.  He 
received  bis  early  art  education  in  Boston.  In  1872  he  spent  six 
months  in  European  travel,  going  abroad  again  in  1874,  with  J.  F. 
Cole  and  E.  L.  Weeks,  when  he  visited  Great  Britain,  France,  and 
Italy,  and  studied  in  the  continental  galleries.  In  1873  he  became  a 
pupil  of  W.  E.  Norton.  He  paints  landscapes  and  figures,  exhibiting 
at  the  Boston  Art  Club  and  other  galleries.  He  is  the  author  of  a 
work  entitled  “Elementary  Perspective,”  published  in  1878. 

” Mr.  Albert  Thompson  has  a number  of  truly  fine  pictures  in  this  collection.  In  an 
‘ .\pple-Orchard,  — Summer,’  are  purity  of  atmosphere  and  fine  contrasts  of  color.  His 
‘ Cattle  on  a Hillside  ’ is  a sweet  composition,  and  Mr.  Thompson’s  knowledge  of  the 

anatomy  is  here  conspicuous His  ‘ Landscape  and  Cattle,’  ‘ Summer  Afternoon,’ 

and  ‘ Lake  Winnipiseogee  from  Wolfborough,’  all  attest  Mr.  Thompson’s  power  in  selec- 
tion of  subject,  and  nice  gray  qualities,  as  well  as  for  tone  and  quality  of  rich  color.”  — 
Boston  Transcript. 

“ At  Noyes  and  Blakeslee’s  gallery  a number  of  Albert  Thompson’s  paintings  are  now 
on  exhibition.  One  is  a very  life-like  study  of  an  Italian  boy,  two  or  three  are  jiic- 
turesque  scenes  in  Nonnandy,  and  among  the  smaller  pictures  is  a wood  interior  and  a 
bit  of  pasture-land,  with  lowering  clouds  above,  that  will  attract  especial  notice.  The 
cattle  which  Mr.  Thompson  so  freely  introduces  into  his  landscapes  are  excellently 
drawn,  and,  like  J.  Foxcroft  Cole,  he  knows  just  where  to  place  them.  All  of  the  pic- 
tures are  fresh  in  tone,  broad  in  treatment,  and,  while  representing  a variety  of  subjects, 
show  at  the  same  time  a marked  individuality.”  — Boston  Advertiser. 

Thorburn,  Robert,  A.  R.  A.  (Brit.)  Born  in  Dumfries,  1818. 
Entered  the  Drawing  Academy  of  the  Royal  Institution,  Edinburgh, 
in  1833,  and  the  Royal  Academy,  London,  in  1836.  He  first  exhib- 


294  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


ited  at  the  Royal  Academy  in  1837.  Until  the  introduction  of  pho- 
tography he  devoted  himself  to  the  painting  of  miniatures,  in  which 
he  met  with  decided  success.  Among  his  sitters  were  the  Queen  and 
several  of  her  children,  the  Prince  Consort,  and  other  distinguished 
jieople.  He  was  admitted  to  the  Academy  as  an  Associate  in  1848, 
and  received  a first-class  gold  medal  at  the  Paris  Exposition  of  1855. 
In  later  years  he  has  painted  life-size  portraits  in  crayon  and  oil,  and 
ideal  figure-pictures,  exhibiting  at  the  Royal  Academy,  in  1864, 
“Where  shall  I take  Refuge?”;  in  1865,  “Asleep ” and  “On  the 
Esk”;  in  1866,  “The  Orphans’’;  in  1867,  “Scotch  Stream”;  in 
1868,  “Forecasting”  ; in  1869,  “Undine”  and  “Country  Life”;  in 

1870,  “John  the  Baptist”  and  “Catherine  of  Aragon”;  in  1871, 
“Summer”  and  “The  Concealment  of  Moses”;  in  1872,  “The 
Widow’s  Stay  ” ; in  1873,  “ Rebecca  at  the  Well  ” ; in  1874,  “ In  the 
Meadow  ” and  “On  the  Hillside”  ; in  1875,  “ On  the  West  Coast  of 
Scotland”  ; in  1876,  “Christian  descending  the  Hill  Difficulty”;  in 
1878,  “ The  Slough  of  Despond  ” and  “ Out  in  the  Cold.” 

“ Thomburn’s  miniatures  combine  truth  and  spirit  with  graceful  grouping  and  deli- 
cacy of  execution.”  — Mbs.  Tytleb's  Modem  Painters. 

Thorndike,  G.  Quincy.  (Am.)  Bom  in  Boston,  about  1825. 
Graduated  at  Harvard  University  in  1847,  when  he  visited  Europe, 
studying  for  some  time  in  Paris.  Returning  to  America,  he  settled  in 
Newport,  R.  I.,  devoting  himself  to  landscapes  and  marine  views. 
Among  the  better  known  of  his  pictures  are,  “ The  Wayside  Inn,” 
“ Swans  in  the  Central  Park,”  “ The  Lily  Pond,”  “ The  Dumplings, 
Newport,”  and  “ View  near  Stockbridge,  Mass.’’ 

“ Thorndike  is  so  thoroughly  French  in  style  and  motive  that  his  pictures  require 
naturalization  before  being  popularly  welcomed  at  home.”  — Jarves,  Art  Idea. 

Thornycroft,  Mary.  (Brit.)  Born  in  1814.  Daughter  of  John 
Francis  the  sculptor,  whose  pupil  she  was.  She  etnnced  decided  taste 
for  art  as  a young  girl,  modeling  busts  and  ideal  subjects,  and  ex- 
hibiting at  the  Royal  Academy  at  an  early  age.  Her  first  important 
work  was  a life-sized  figure,  entitled  “ The  Flower-Girl,’’  which  at- 
tracted some  attention.  In  1840  she  married  T.  Thornycroft,  one  of 
her  father’s  pupils,  and  with  her  husband  went  to  Rome  in  1842, 
spending  a year  in  that  city  at  work  and  in  study.  A few  j’ears  later 
she  was  commissioned  by  the  Queen  to  execute  statues  of  the  children 
of  the  Royal  Family,  which  were  designed  in  character,  as  the  “ Four 
Seasons,”  were  exhibited  at  the  Royal  Academy,  and  were  much 
praised.  To  the  Paris  Exposition  of  1855  she  conti’ibuted,  “ A Girl 
Skipping.”  In  1861  she  e.xhibited,  at  the  Royal  Academy,  “ Princess 
Beatrice  ” (belonging  to  the  Queen)  ; in  1863,  “ The  Princess  of  W.ales” 
and  “ Princess  Louis  of  Hesse  ” ; in  1869,  “ A Young  Cricketer  ’’  ; in 

1871,  “ The  Princess  Louise”;  in  1872,  “ Melpomene  ” ; in  1875, 
“Princess  Christian”  ; in  1877,  “ The  Duchess  of  Edinburgh.” 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  295 


“ Sculpture  has  at  no  time  numhered  many  successful  followers  among  women.  t\'e 
have,  however,  in  Mrs.  Thornyci-oft,  one  such  artist,  wlin,  by  some  recent  advance  and 
by  the  degrees  of  success  which  she  has  already  reached,  promises  fairly  for  the  art. 
Some  of  this  lady’s  busts  have  refinement  and  feeling.”  — Palgrave's  Essays  on  Art, 
1863. 

Thornycroft,  Thomas.  (Brit.)  A contemporary  English  sculp- 
tor. He  was  a pupil  of  .John  Francis.  Among  his  works  are,  “ James 
I.”  and  “ Charles  I.”  (in  marble),  iii  the  Eoyal  Gallery  of  the  palace 
of  Westminster,  “The  Prince  Consort,”  “ Meljiomene,”  “Thalia,” 
“Clio,”  etc.  (in  bronze),  and  many  portrait  busts  and  statues. 

Thornycroft,  Hamo  (sculptor)  and  Helen  and  Theresa  Thorny- 
croft  (painters),  children  of  the  two  preceding  artists,  have  inherited 
the  family  tastes  and  talents  for  art.  They  all  exhibit  their  works  at 
the  Royal  Academy,  London. 

Tidemand,  Adolphe.  {Norwegian)  Born  at  Mandal  (1814- 1876). 
Chevalier  of  the  Orders  of  Saint  Olaf  and  the  Legion  of  Honor. 
Court  painter  in  Norway.  Member  of  the  Academies  of  Berlin, 
Amsterdam,  Copenhagen,  and  Stockholm.  Studied  fii’st  at  the  Acad- 
emy of  Copenhagen,  then  at  that  of  Diisseldorf  under  Hildebrandt 
and  Schadow.  Tidemand  decorated  the  chateau  of  Oscarshall,  near 
Christiana.  He  painted  landscapes  and  historic  genre  subjects. 
His  most  important  work  is  “ The  Baptism  of  Christ,”  which  is  in  a 
church  in  Christiana.  Among  his  pictures  may  be  mentioned,  “ The 
Distribution  of  the  Sacrament  to  the  Aged  and  Infirm,  according  to 
the  Lutheran  Form,”  “Single  Combat  in  Ancient  Times,”  “ Village 
Funeral  in  Norway,”  “ Farewell  of  Emigrants  leaving  for  America,” 
and  “ Young  Man  Preaching.”  His  picture  of  “ The  Assembly  of  the 
Haugiens,”  a very  important  work,  is  in  the  Diisseldorf  Gallery ; it 
has  been  reproduced  several  times  by  the  artist.  Tidemand  has 
vigor  of  conception,  vivacity  of  expression,  and  the  power  of  harmo- 
nizing his  groups,  and  giving  a characteristic  expression  to  each  face 
and  figure. 

“ It  was  in  studying  the  manners  and  the  costumes  of  the  peasants  of  his  country  and 
reproducing  them  on  Ids  canvas,  that  he  made  an  original  and  merited  reputation. 
Tidemand  had  not  the.  temperament  of  a colorist ; Imt  his  color,  a little  cold  and  dull, 
failed  not  to  harmonize  with  his  compositions,  intelligently  arranged,  and  frequently  of 
a remarkable  character.  ....  He  was,  above  all,  a painter  of  genre,  or  ratlier  a painter 
of  manners,  and  one  of  the  more  distinguished  ; a conscientious  and  learned  artist,  with 
a talent  severe  and  elevated.”  — L'Art,  1876. 

“ The  primeval  strength  of  the  Norwegian  peasant  ivould  never  have  been  so  well 
known  if  tins  artist  had  not  represented  it  by  academical  idealization.  His  feeling, 
conception,  and  masterly  individualization  transfigure  most  of  ins  personages,  even 
when  they  are  not  correct  according  to  the  accepted  idea  of  beauty.  His  color  is  fresli, 
strong,  and  of  great  harmony  ; his  drawing  broad  and  bold,  but  without  pretension. 
Free  from  forced  contrasts,  his  pictures  have  the  simplicity  of  nature,  and  are  distin- 
guished for  careful  and  conscientious  study,  and  a proper  adaptation  of  parts." — Uiisere 
Zeit,  October,  1876. 

Tidey,  Arthur.  {Brit.)  Born  in  1808.  Brother  of  Henry  Tidev. 
He  was  a fashionable  painter  of  portraits  in  miniature,  before  the 


296  ARTISTS  OF  THE  NINETEENTH  CENTURY. 

invention  of  photography,  and  still  exhibits  at  the  Eoyal  Academy. 
He  is  a resident  of  London. 

Tidey,  Henry.  (Brit.)  (1814-1872.)  Received  his  first  in- 
struction in  art  from  his  father,  John  Tidey,  and  began  the  practice 
of  his  profession  as  a painter  of  portraits  in  oil,  having  among  his 
sitters  members  of  the  aristocracy  and  of  the  Royal  Family,  and  ex- 
hibiting frequently  at  the  Royal  Academy.  In  the  later  years  of  his 
life,  however,  he  devoted  himself  entirely  to  water-colors,  and  was 
made  a member  of  the  Institute  in  1858,  contributing  to  its  gallery  in 
the  same  year,  “The  Feast  of  Roses”  (purchased  by  the  Queen)  ; in 
1860  he  painted  “Queen  Mab,”  for  which  he  received  two  medals  ; 
in  1863,  “Christ  blessing  Little  Children”  ; in  1864,  “The  Night  of 
the  Betrayal.”  Among  his  later  works  are,  “ Sardanapalus,”  in  1870  ; 
“ Seaweeds,”  in  1871  ; and  “ Castles  in  the  Air,”  in  1872. 

Tieck,  Christian  Frederic.  (Ger.)  Born  at  Berlin  (1776-  1851). 
Member  of  the  Academy  of  Berlin,  and  Director  of  the  division  of 
Statues  of  the  Museum  of  that  city.  Pupil  of  Schadow  in  Ger- 
many and  of  David  in  France.  This  sculptor  traveled  much,  and  re- 
mained a long  time  at  Carrara,  where  he  became  the  intimate  friend 
of  Rauch.  Tieck  was  more  successful  in  portrait  busts  than  in  em- 
bodying iipaginary  conceptions.  He  had  many  sitters  among  people 
of  mark.  Among  his  busts  may  be  mentioned  those  of  the  Emperor 
of  Germany  (in  the  Salle  des  Iitats  at  Berlin),  the  King  of  Bavaria, 
Schelling,  Schinkel,  Goethe,  Lessing,  etc.  He  assisted  in  the  decora- 
tion of  the  new  chateau  at  Weimar  ; he  was  charged  with  the  deco- 
ration of  the  new  theater  at  Berlin  ; the  portal  of  the  Cathedral, 
Berlin  ; and  the  models  of  the  Genii  for  the  monument  of  Saalfeld 
and  that  of  Kreuzberg.  Tieck  was  very  active  in  establishing  a gal- 
lery of  models  from  antique  statues  and  monuments  at  the  Museum 
of  Berlin,  and,  together  with  Beuth,  Schinkel,  and  Rauch,  he  exe- 
cuted a large  number  of  these  copies. 

Tiffany,  Louis  C.,  A.  N.  A.  (Am.)  Bom  in  the  city  of  New 
York  in  1848.  Was  a pupil  of  George  Inness  for  some  time,  studtnng 
subsequently  in  Paris  and  under  Leon  Bailly.  He  has  traveled  ex- 
tensively in  France,  Africa.  Spain,  and  other  countries,  painting  many 
characteristic  pictures  of  Eastern  life.  He  was  made  a member  of  the 
Water-Color  Society  in  1870,  an  Associate  of  the  National  Academy 
in  1871,  and  Treasurer  of  the  Society  of  American  Artists  in  1878. 
To  the  National  Academy  (in  oil)  he  has  sent  “A  Dock  Scene, 
Yonkers,”  in  1869  ; “Fruit-Vender,  under  the  Sea-Wall  at  Na.ssau,” 
in  1870;  “Hunter’s  Dinner  ” and  “ Street  Scene  in  Tangiers,”  in 
1872  ; “Market-Day  outside  the  Wall,  Tangiers,”  in  1873  ; “Clouds 
on  the  Hudson,”  in  1874  ; “ Ceramic  Wares  ” and  a “ Study  at 
Quimper,  Brittany,”  in  1877  ; “ A Laborious  Rest  ” and  several 
street  scenes,  in  1878.  To  the  Water-Color  Exhibition  in  1869  he 
contributed  “Venice”  ; in  1872,  “Meditation”  ; in  1874,  “A  Mer- 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  297 


chant  of  the  East  ” ; in.  1876,  “A  Shop  in  Switzerland”;  in  1877, 
“ An  Old  Shop  at  Algiers  ” and  “ The  Palace  of  the  Pasha  Ali  Ben 
Haessein,  at  Algiers  ” ; in  1878,  “ The  Cobblers  of  Boufarik.”  To 
Philadelphia,  in  1876,  he  contributed  (in  water-color),  “-Old  and  New 
Mosques  at  Cairo,!’  “Lazy  Life  in  the  East,”  and  “A  Street  Scene  in 
Cairo  ” (belonging  to  George  D.  Morgan).  To  Paris  in  1878  he  sent, 
“Duane  Street,  New  York”  (in  oil),  and  “ Market-Day,  Morlaix  ” 
and  “ The  Cobblers  of  Boufarik  ” (in  water-colors).  His  “ Life  in  the 
East,”  a view  of  the  old  Sub-Treasury  Building,  Tangiers,  in  the 
Johnston  Collection,  is  now  in  the  possession  of  Mrs.  John  C.  Green. 
His  “ Citadel  at  Cairo  ” belongs  to  Charles  Storrs  of  Brooklyn  ; his 
“ Old  Second-Hand  Shop  at  Geneva,”  to  Joseph  Millbank  ; his 
“New  London  Harbor”  (water-color),  to  Samuel  V.  Wright. 

Tilton,  John  Rollin.  (Am.)  Born  in  Loudon,  N.  H.,  1833. 
He  has  been  a close  student  of  the  Venetian  school  of  painting, 
especiall}"  of  Titian,  but  is  a graduate  of  no  art  academy,  and  has 
studied  under  no  master.  His  professional  life  has  been  spent  in 
Italy,  chiefly  in  Rome.  Many  of  his  landscapes  are  in  the  collections 
of  the  Marquis  of  Sligo,  Sir  William  Drummond  Stuart,  Lord  Am- 
berly.  Lady  Ashburton,  and  others  in  England.  Marshall  0.  Roberts 
of  New  York  owns  his  “ Kent  Ombres.”  He  exhibited  at  the  Royal 
Academy,  London,  in  1873,  “The  Palace  of  Thebes,”  etc.  Mrs.  A. 
Mitchell  of  Milwaukee  owns  an  Egyptian  view  ; Martin  Brimmer 
of  Boston,  “ Como”  and  “ Venice”  ; Fletcher  Adams  of  New  York, 
“ Venetian  Fishing- Boats.”  He  has  exhibited  at  the  Royal  Academy, 
London,  National  Academy,  New  York,  Boston  Athenseum,  etc.  To 
the  Centennial  in  Philadelphia,  in  1876,  he  sent  “ The  Lagoons  of 
Venice  ” and  “ Kem  Ombres.” 

“ Of  the  American  artists  who  have  won  fame  for  themselves  by  persevering  industry. 
Mr.  Tilton  is  a prominent  example.  He  is  the  first  American  painter  since  Benjamin 
West  who.se  works  have  received  special  commendation  from  the  President  of  the  Royal 
Academy,  who,  as  some  of  our  readers  will  recollect,  at  the  annual  dinner  last  year, 
complimented  Mr.  Tilton,  in  the  most  flattering  tenns,  on  the  success  of  his  picture  of 
‘ Kem  Ombres,’  Upper  Egypt,  which  was  placed  ‘on  the  line  ’ at  the  last  Exhibition.” 
— London  Daily  News,  1874. 

“ A long  and  loving  observation  of  Nature  in  many  climes  and  in  all  her  moods  has 
enabled  this  artist  [John  R.  Tilton]  to  do  by  Nature  as  an  experienced  portrait-painter 
does  by  his  sitters,  to  select  each  subject  at  its  best,  at  the  most  favorable  moment  of 
the  day,  and  of  tlie  year,  and  under  the  most  favorable  circumstances  of  light  and 
atmosphere  ; and  the  result  is  that  this  little  view  of  Orvieto  makes  a singular  contrast 
of  tone  to  that  of  the  ‘ Thebes.’  Tlie  Valley  of  the  Nile  in  the  latter  is  at  its  greenest, 
and  yet  it  is  a very  different  greenery  from  that  of  the  Valley  of  the  Tiber.  ....  The 
solidity  of  the  painting  and  at  the  same  time  tlie  transparency  of  the  work  are  truly 
remarkable  in  this  little  titbit  of  a landscape.”—  T.  Adolphus  Trollope,  London 
Standard,  Febrnary  .’i,  1874. 

“He  [Mr.  Tilton]  was  born  on  the  other  side  of  the  Atlantic,  but  he  has  studied  life 
and  nature  in  all  countries,  and  his  paintings  of  Naples  and  Venice,  of  Greece  and 
®Sypt,  are  as  well  known  in  Italy,  in  England,  and  all  over  Europe,  as  they  are  in  his 
own  country He  values  his  picture  not  so  much  as  a masterpiece  of  landscape 

13* 


298  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


painting,  as  it  is,  tut  for  the  importance  it  will  have  in  after  times  as  a faithful  histori- 
cal memorial  of  Rome  as  it  was,  and  as,  if  he  had  his  way,  it  should  never  cease  to 
he.  Few  men  have,  by  a quarter  of  a century  of  loving  familiarity,  made  themselves 
more  minutely  acquainted,  not  only  with  every  inch  of  its  ground,  and  every  stone  of  its 
buildings,  but  wliat  is  much  more,  witli  every  phase,  shade,  and  nuance  of  its  ever- 
changing,  ever-charming  atinospliere.  There  can  be  nothing  more  true,  yet  nothing 
more  exquisitely  got  up,  more  genially  idealized,  than  this  long-meditated  lucture  of 
‘ Rome  from  the  Aventine.’  ” — Londmi  Times,  January  8,  1878. 

Timbal,  Louis  Charles.  {Fr.)  Bom  at  Paris,  about  1822.  Cheva- 
lier of  the  Legion  of  Honor.  Painter  and  art-critic.  Pupil  of  Droll- 
ing. He  sent  his  first  contribution  to  the  Salons  in  1847.  He  hits 
painted  a variety  of  subjects,  and  some  portraits,  but  the  larger  num- 
ber of  his  works  are  religious  subjects.  He  has  also  decorated  a 
chapel  at  St.  Sulpice,  and  executed  a “ Theology  ” in  the  church  of 
the  Sarbonne.  In  the  Luxembourg  are  his  “ Muse  and  Poet  ” (1866) 
and  “ Christ’s  Agony  in  the  Garden  ” (1867).  Timbal  contributes 
many  articles  to  the  “ Gazette  des  Beaux- Arts.”  He  is  a man  of  for- 
tune, and  art  is  his  passion.  He  has  a tine  collection  of  Italian  objects 
of  art  of  the  Middle  Ages  and  of  the  Eenaissance. 

“ M.  Timbal  pretends  not  to  occupy  a considerable  place  in  the  contemporaneous 
school  : he  holds  the  rank  assigned  to  ail  artists  who  are  mindful  of  the  lessons  of  the 
past.  His  admiration  for  the  great  geniuses  wliom  lie  has  known  and  studied  aids  him 
in  avowing  liimself  only  an  imitator  of  these  giants  : he  is  their  victim  : lie  is  resigned 
to  Ills  fate.  His  important  compositions  in  the  chapel  of  Sainte-Genevieve  at  Saint-Sulpice 
are  tre-ated  in  the  style  of  tlie  beautiful  Florentine  frescos  of  the  Brancacci  chapel : the 
expressions  are  true,  but  the  niovemeiits  seem  suppressed  for  the  sake  of  a dignity  which 
is  not  in  the  character  of  all  the  personages”  — Georges  Berger,  Gazette  des  Beaux- 
Arts,  Februarj',  1876. 

Tissot,  James.  {Fr.)  Bom  at  Nantes.  Medal  in  1866.  Pupil 
of  H.  Flandrin  and  L.  Lamothe.  This  artist,  French  by  birth  and 
education,  has  now  so  long  resided  in  England  that  he  has  become  in 
effect  a man  of  that  country.  His  picture  of  the  “ Meeting  of  Faust 
and  Marguerite  ” (1861)  is  in  the  Luxembourg.  He  exhibited  at  the 
Salon  of  1870  (for  the  last  time),  “ A Young  Girl  in  a Boat  ” (belong- 
ing to  Mr.  IV.  H.  Stewart)  and  “ Partie  Carree  ” ; in  1869,  “ A fVidow  ” 
and  “Young  IVomen  examining  some  Japanese  Articles”  ; in  1S6S, 
“A  Breakfast”  .and  “The  Retreat  in  the  Garden  of  the  Tuileries  ” ; 
in  1867,  “ A Young  Woman  singing  with  an  Organ”  and  “Confi- 
dence ” ; in  1866,  “A  Young  fVoman  in  Church  ” and  “ The  Confes- 
sional” ; etc.  At  the  Royal  Academy  E.xhibition,  London,  in  1876, 
he  exhibited  “ The  Thames,”  “ A Convalescent,”  an  etching  of  “ The 
Thames,”  and  another  etching,  “Quarreling”  ; in  1875,  “A  Bunch 
of  Lilacs  ” and  “ Hu.sh  ” ; in  1874,  “ London  Yisitors,”  “ Waiting,” 
and  “ The  Ball  on  Shipboard  ” ; in  1873,  “ The  Captain’s  Daughter,” 
“ The  Last  Evening,”  and  “Too  Early”;  in  1872,  “ An  Interesting 
Story”  and  “ Les  adieux.”  At  the  Walters  Gallery,  Baltimore,  is  a 
“ Marguerite,”  by  Tissot.  “ Faust  and  Marguerite  ” (a  remarkably 
fine  work  of  its  kind)  is  in  the  collection  of  Mrs.  H.  E.  Maynard  of 
Boston. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  299 


Tissot  is  the  declared  enemy  of  aerial  pei-spective,  and  he  lias  sworn  that  by  the  force 
of  talent  and  mind  he  will  make  us  forget  that  there  is  an  atmosphere  which  serves  to 
unite  the  tones  of  color,  to  graduate  them  in  their  plane,  and  from  tliem  to  bring  out 
harmony.  We  will  not  stop  befoi'e  the  large  picture,  which  leaves  us  too  much  to  desire 
in  this  direction,  but  we  pass  rather  to  tlie  two  delicious  portraits  of  comedians. 
There  Tissot,  who  had  but  one  figure  to  paint,  was  obliged  to  renounce  his  monomania, 
and  show  himself  that  which  he  really  is,  a very  skillful  painter,  and  an  artist  full  of 
spirit.”  — Ren£  Menard,  Gazette  rles  Bmux-Arts,  June,  1869. 

“ Botli  Alma  Tadema  and  Tissot  have  wielded  a large  influence  on  contemi)orary  Eng- 
lish art.”  — Benjamin’s  Conteniporarij  Art  in  Europe. 

‘‘The  pictures  of  Tissot,  Heilbuth,  and  Legros,  hung  side  by  side,  suggest  curious 
contrasts.  The  first  sends  five  pictures,  ‘ Spring  ’ and  ‘ July,’  full-length  portraits  in 
white,  with  knots  of  pale  yellow  riband,  under  skillfully  managed  rellected  lights  ; ‘ Cro- 
quet,’ a graceful  figure  of  a stripling  girl,  dressed  in  black,  in  a garden  ; ‘ Evening,’  the 
crush  at  the  entrance  to  a West-end  soiree,  with  a young  lady  in  a daring  ‘ arrangement,’ 
in  which  yellow  predominates  in  head-gear,  fan,  and  dress,  all  of  the  most  pronounced 
fashion  of  modern  millinery,  a figure  worthy  of  Worth  ; and  a ‘ Study,’  of  which  only  a 
pretty  simple  head  is  finished.  It  is  impossible  to  conceive  artless  unsophisticated,  less 
in  contact  with  nature,  as  far  as  its  subject-matter  goes,  than  Tissot’s.  But  it  would  be  dif- 
ficult to  find  in  any  contemporary  painter’s  work  more  artistic  thought  and  resource  than 
have  been  lavished  on  these  unsophisticated  subjects.  It  is  art  brought  to  the  doors 
aud  laid  at  the  feet  of  the  mmide,  if  not  sometimes  of  the  demi-monde,  with  an  almost 
cynical  sincerity.  Thus  far  it  is  French  rather  than  English,  alike  in  the  ideas  it  suggests 
and  the  skili  it  shows.”  — London  Times,  May  2,  1878. 

Tite,  Sir  William.  (Brit.)  (1802-1873.)  He  studied  architec- 
ture under  Laing,  and  was  very  prominent  in  liis  profession.  He  fur- 
nished plans  for  many  fine  buildings  in  London  and  elsewhere  in 
Great  Britain,  the  best  known,  perhaps,  being  the  Royal  Exchange  in 
the  metropolis.  In  1862  he  was  elected  President  of  the  Institute  of 
British  Architects,  and  was  knighted  by  tbe  Queen  in  1869.  He  was 
a member  of  Parliament  for  upwards  of  twenty  years. 

Tolies,  Sophie  Mapes.  (Am.)  Native  of  the  city  of  New  York. 
Began  the  studj’  of  art  in  Philadelphia,  in  1864,  under  P.  F.  Rother- 
nieL  She  was  some  time  in  the  schools  of  the  National  Academy 
and  of  the  Cooper  Institute,  New  York,  where  she  received  two  med- 
als. Spending  two  years  in  Paris,  she  was  a pupil  of  E.  Luminais, 
painting  and  copying  in  that  city  and  in  Italy.  She  first  exhibited 
at  the  National  Academy,  in  1876,  a portrait  ; in  1877,  she  exhibited 
“ The  Cottage  Door,”  and  several  flower-pieces  ; in  1878,  “ In  Me- 
moriam.”  Among  her  portraits  is  one  of  Linda  Gilbert  of  Chicago. 
For  several  years  she  has  been  Vice-President  of  the  Ladies’  Art  As- 
sociation. 

Tompkins,  Clementina  M.  G.  (Am.)  A native  of  Washington, 
D.  C.  She  has  lived  for  some  time  in  Paris,  studying  in  the  National 
Schools  of  Design  there,  and  under  Bonnat.  Her  specialty  is  por- 
traits and  figure-pieces.  She  exhibited  at  the  Salon  in  Brussels  in 
1872,  and  has  contributed  regularly  to  the  Paris  Salons  since  1873. 
To  Philadelphia  in  1876  she  sent  “The  Little  Musician,”  for  which 
she  received  a medal ; to  the  Paris  Exposition  of  1878,  “ The  Little 
Artist  ” and  “Rosa,  la  fileuse.” 


300  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Topham,  Francis  William.  {Brit.)  Born  in  Leeds  (1808- 1877). 
He  began  life  as  an  engraver  in  bis  native  city,  removing  to  London 
about  1830.  Shortly  after  joining  the  Institute  of  Painters  in  Water- 
Colors,  he  devoted  himself  to  painting  Spanish,  Welsh,  and  Irish 
peasant  life  with  marked  success.  Leaving  the  Institute,  he  became 
an  active  member  of  the  Society  of  Painters  in  Water-Colors,  con- 
tributing, among  other  sketches,  “ Irish  Courtship,”  “Welsh  Cabin,” 
“ Spanish  Gypsies,”  “ Beading  the  Bible,”  etc.  Among  his  later 
works  are,  “ Preparing  for  the  Fight  ” and  “ Waiting  by  the  Stile,” 
exhibited  in  1872  ; “The  Bird’s-Nest  ” and  “ Listening  to  the  Love- 
Letter,”  in  1873  (sent  to  Philadelphia  in  1876)  ; “ Wayfarers  ” and 
“A  Welsh  Stream,”  in  1875;  and  after  his  death,  in  1877,  “Black- 
berry-Gatherers” and  “Haymaking.”  Two  of  his  works,  “Venetian 
Water-Carriers  ” and  “ The  Eve  of  the  Festa,”  were  at  the  Paris  Ex- 
position of  1878.  His  death  occurred  in  Spain. 

Topham,  Francis  W.  W.  (Brit.)  Bom  in  London,  1838.  Son 
of  Francis  W.  Topham,  from  whom  he  received  his  first  instruction 
in  art,  studying  later  at  the  schools  of  the  Royal  Academy.  He  has 
lived  and  painted  in  Italy  and  France,  and  is  at  present  a resident  of 
the  suburbs  of  London.  He  exhibits  frequently  at  the  Royal  Acad- 
emy, the  Society  of  British  Artists,  etc.  Among  his  more  important 
works  are,  “ Relics  of  Pompeii,”  “ The  Fall  of  Rienzi,  the  last  Ro- 
man Tribune,”  “ Drawing  for  Military  Service,  Modern  Italy  ” (R.  A., 
1878),  “Refugees  from  Pompeii,”  etc. 

His  “Fall  of  Rienzi  ” was  at  the  Philadelphia  Exhibition  of  1876. 
“The  Winged  Pensioners  of  Assisi,”  at  Paris,  in  1878. 

The  cloister  of  Assisi  has  been  carefully  and  literaUy  studied  in  all  but  what  is 

singular  or  beautiful  in  it But  there  is  more  conscientious  treatment  of  the  rest 

of  the  building,  and  greater  quietness  of  natural  light,  than  in  most  picture  backgrounds 
of  these  days  [‘  The  Sacking  of  Assisi  by  the  Perugians  in  1442  *]."  — RcsKiy’s  KoUs  of 
the  Academy,  1875. 

Torelli,  Lot.  (Ital.)  Sculptor  of  Florence.  At  Philadelphia  he 
exhibited  “ Eva  St.  Clair  ” (“  Uncle  Tom’s  Cabin”)  and  “A  Good 
Housekeeper,”  and  received  a medal.  At  the  London  Academy  in 

1876  he  exhibited  a statuette  in  terra-cotta,  “ Fidelity,”  and  “The 
Love-Message.” 

Toudouze,  Edouard.  (Fr.)  Born  at  Paris.  Prix  de  Rome,  1871. 
Medals,  1876  and  ’77.  Pupil  of  Pils  and  A.  Leloir.  At  the  Salon  of 

1877  he  exhibited  “The  Wife  of  Lot”;  in  1876,  “ Clytemnestra, — 
the  Murder  of  Agamemnon”;  in  1878,  a portrait  and  “ The  Beach  at 
Yport.” 

Toulmouche,  Auguste.  (Fr.)  Born  at  Nantes.  Chevalier  of 
the  Legion  of  Honor.  Pupil  of  GlejTe.  The  works  of  this  artist  are 
well  known.  They  are  usually  interiors,  with  Parisian  women  of  our 
day.  He  holds  a high  place  among  painters  of  these  subjects.  At 
the  Salon  of  1876  he  exhibited  “Flirtation”  and  “ Summer”;  in  1874, 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  301 


“ The  Serious  Book  ” (a  very  pleasing  picture)  and  “ The  Eesponse.” 
At  the  Latham  sale,  New  York,  1878,  “ Why  don’t  he  come?”  (26 
hy  20)  sold  for  $950.  His  “Waiting”  belongs  to  IVlr.  S.  Hawk  of 
New  York. 

Tournemine,  Charles  Emile  Vacher  de.  (Nr.)  Born  at 
Toulon  (1814- 1872).  Chevalier  of  the  Legion  of  Honor.  Pupil  of 
Eugene  Isabey.  At  the  Luxembourg  is  his  “ Elephants  of  Africa  ” 
(1861).  Many  of  his  pictures  are  of  hunting-scenes,  others  of  land- 
scapes, and  some  illustrative  of  the  customs  of  Eastern  countries 
which  he  had  visited. 

Trautmann,  Karl  Friedrich.  {Ger.)  Born  at  Breslau  (1804- 
1875).  Studied  at  Berbn  Academy.  His  small  wood-scenes  and 
groups  of  trees  are  very  agreeable  pictures.  He  was  also  a lithog- 
rapher. At  the  National  Gallery,  Berlin,  is  “The  Oak  Wood.” 

Trigt,  H.  A.  Van.  {Dutch.')  Of  Hilversum.  Medal  at  Philadel- 
phia, where  he  exhibited  “Norwegian  Women  bringing  Children  to 
be  baptized.”  This  picture  is  specially  commended  by  Mr.  John  F. 
W'eir  in  his  report. 

Triqueti,  Henri  de.  (FV.)  Born  at  Conflans  (1804-1874).  This 
artist  was  a pupil  of  Hersent.  He  made  his  debut  at  the  Salon  of 
1831  with  four  pictures,  and  to  the  same  Salon  he  sent  also  a sculp- 
tured group  of  the  “ Death  of  Charles  le  Temeraire,”  the  success  of 
which  decided  him  to  devote  himself  to  sculpture.  This  work  and 
some  others  led  Thiers,  then  Minister  of  the  Interior,  to  give  him  the 
commission  for  the  doors  of  the  Madeleine.  One  of  his  most  speaking 
works  is  the  “ Besurrection  of  Lazarus,”  made  for  the  tomb  of  the 
only  son  of  the  artist,  who  was  killed  by  an  accident  in  1861.  Laza- 
rus has  the  face  of  the  son.  Triqueti  received  from  Queen  Victoria 
the  order  for  the  complete  ornamentation  of  the  chapel  at  Windsor, 
and  the  construction  of  the  tomb  of  Prince  Albert,  which  is  there. 
Here  he  has  employed  both  painting  and  sculpture.  It  is  an  immense 
w'ork,  and  any  proper  description  of  it  would  demand  more  space  than 
we  can  here  give.  Triqueti  was  also  a writer  on  art  matters.  Among 
his  MTitings  is  a volume  called  “ Les  Trois  Musees  de  Londres.” 

Trotter,  Newbold  H.  (Am.)  A resident  of  Philadelphia.  He 
devotes  himself  to  pictures  of  animal  life.  His  “ On  the  Hills  ” and 
“Resting”  were  at  the  National  Academy  in  1874;  his  “Quiet 
Nook”  and  “California  Valley  Quail,”  in  1875.  To  the  Centennial 
Exhibition  of  1876  he  sent  “ Wounded  Buffalo  pirrsued  by  Prairie 
Wolves.” 

[No  response  to  circular.] 

“ Trotter’s  ‘ They  know  not  the  Voice  of  the  Stranger  ’ [Phil  Acad.  1S73]  is  a valu- 
able specimen  of  animai  painting Hi.s  ‘ Fading  Race,’  a herd  of  buffalo  speeding 

towards  the  setting  sun,  is  poetical  in  conception,  and  both  in  matter  and  manner  is 
much  the  best  work  the  artist  has  produced  in  a long  time."  — Art  Journal,  June, 
1877. 

Troyon,  Constant.  (Fr.)  Born  at  Sevres  (1810- 1865).  Chev- 


302  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


alier  of  the  Legion  of  Honor,  and  member  of  the  Academy  of  Amster- 
dam. His  parents  wished  him  to  he  a painter  of  porcelain,  but  after 
a time  spent  in  the  manufactory  at  Sevres  he  studied  under  Riocreux, 
and  became  a painter  of  landscapes  and  animals.  He  was  a hard 
worker,  and  determined  to  overcome  the  difficulties  of  his  art.  He 
cannot  be  positively  called  a literal  painter,  but  he  painted  very  little 
that  was  not  apparent  to  an  uneducated  eye,  and  his  representation 
of  animals  was  the  truth  of  nature,  interpreted  in  a large  sense  and 
with  freedom  of  touch.  He  seldom  worked  continuously  on  one  sub- 
ject, but  kept  a large  number  of  pictures  in  progress  at  the  same  time. 
He  traveled  mucli  in  his  own  country,  and  made  a journey  to  Hol- 
land, in  which  country,  as  well  as  in  Belgium  and  England,  his  works 
were  much  admired.  After  his  death,  in  the  Exposition  of  1867,  the 
following  pictures  were  exhibited,  “A  Land.scape  with  Animals” 
(afterwards  given  to  the  Museum  of  the  Luxembourg  by  the  mother 
of  Troyon),  “ Scotch  Dogs,”  “ A Dog  and  a Partridge,”  “ A White 
Cow  in  a Field,”  and  “ A Seashore.”  Troyon  first  sent  pictures  to  the 
Salon  in  1833  ; he  received  medals  in  1838,  ’40,  ’46,  ’48,  and  ’55  ; he 
was  decorated  in  1849.  Among  his  principal  works  are,  “•  The  Ferry- 
Boat”  ; “Oxen  going  to  Work”  (1853),  for  which  the  city  of 
Bordeaux  paid  4,000  francs  in  1860  ; “ The  Valley  of  the  Toque 
in  Normandy”  (1853)  ; views  of  Sevres,  Saint-Cloud,  Argenton,  and 
the  environs  of  Vannes,  of  The  Hague,  and  of  Amsterdam  ; etc.  ilany 
of  his  works  have  been  engraved,  such  as  “ The  Bathers,”  “ The 
Poacher,”  “ The  Watering-Place,”  and  some  of  the  pictures  men- 
tioned above,  etc.  At  the  Laurent-Richard  sale,  Paris,  1873,  “ The 
Ford”  sold  for  .£2,480  ; “A  Shepherd  and  his  Flock,”  for  £1,668  ; 

Cows,— Sunset,”  for  £1,082;  “The  Return  of  the  Flock,”  for 
£1,020.  At  the  Johnston  sale  of  pictures,  in  1876,  the  “ Autumn 
Morning,  — Landscape  and  Cattle”  (28  by  42)  was  sold  for  $9,700, 
and  a pastel,  “ Roadside  Cottage  ” (12  by  15),  brought  $ 110.  At  the 
Norzy  sale,  Paris,  1860,  “Cows  in  a Pasture,  — Effect  of  a Storm” 
brought  3,000  francs.  In  Paris,  in  1874,  the  “ Plaine  de  la  Toque, 
Normandie,”  sold  for  £ 1,840. 

*'  He  had,  hoTverer,  a more  poetical  mind  than  any  other  artist  of  the  same  class,  and 
the  poetry  of  the  fields  has  never  been  more  feelingly  interpreted  than  by  him.  In  the 
‘ Oxen  going  to  Work  ’ we  have  a page  of  nistic  description  as  good  as  anything  in  litera- 
ture,   of  fresh  and  misty  morning  air,  of  rough,  illimitable  land,  of  mighty  oxen  march- 

ing slowly  to  their  toil ! Who  that  has  seen  these  creatures  work  can  be  indifferent  to 
the  steadfast  grandeur  of  their  nature  ? they  have  no  petulance,  no  hurry,  no  nervous 
excitability  : but  they  will  bear  the  yoke  upon  their  necks,  and  the  thongs  about  their 
horns,  and  push  forward  without  flinching  from  sunrise  until  dusk  ! ’’  — Hamertos’s 
Contemporary  French  Painters. 

••  A mise  en  scene,  picturesque,  and  often  with  a rare  magnificence  of  effect : a color, 
sober,  fine,  distinguished,  unfolding  itself  in  sweet  harmonies  : a bold  and  origin.al  mod- 
eling. a quick  instinct  for  light,  the  magic  of  shaded  or  radiant  horizons,  —these  are  the 
attractive  charms,  the  exceptionable  qimlities,  which  assure  this  artist  an  eternal  place 
among  the  masters  of  the  genre."  — Larousse,  Dictionnaire  U niverseJ. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  303 


Triibner,  Wilhelm.  {Ger.)  Born  at  Heidelberg,  1852.  Pupil  of 
the  Academy  of  Munich,  of  Dietz,  and,  later,  of  the  great  portrait- 
painter,  Canon,  at  Stuttgart.  In  the  spring  of  1878  this  young  artist 
exhibited  at  Munich  a full-length  portrait  which  excited  immense 
interest,  and  he  is  now  engaged  upon  several  other  portraits,  which, 
it  is  said  by  other  artists,  will  give  him  a great  reputation. 

Trumbull,  Gurdon.  {Am.)  Born  at  Stonington,  Ct.,  1841. 
Youngest  son  of  Hon.  Gurdon  Trumbull.  He  studied  art  under  F.  S. 
Jewett  of  Hartford,  Ct.,  and  for  a short  time  under  James  Hart  of 
New  York.  His  professional  life  has  been  spent  in  Hartford.  Among 
the  better  knowui  of  his  works  are,  “ A Moorish  Watch-Tower,  Coast 
of  Spain  ” and  “ A Critical  Moment,”  a trout  picture  (both  belonging 
to  William  C.  Prime  of  New  York).  Hon.  Charles  M.  Pond,  Dr.  E.  K. 
Hunt  of  Hartford,  Ct.,  and  others,  own  his  pictures  of  fish.  His 
“ Plunge  for  Life  ” and  “ Over  the  Falls,”  exhibited  at  Snedecor’s 
Gallery,  New  York,  in  1874,  have  been  chronioed,  and  are  very  pop- 
uliir.  The  “Critical  Moment”  was  at  the  Centennial  Exhibition  at 
Philadelphia  in  1876. 

“ Mr.  Trumbull’s  standing  as  an  artist  was  long  .since  assured  by  works  of  tliis  class 
[‘The  Plunge  for  Life  ’ and  ‘ Over  the  Falls’].  His  work  is  distinguished  for  a somewhat 
uncommon  union  of  cliaracters,  namely,  accurate  and  finished  detail  joined  to  complete 
action  and  life  in  the.  whole  picture.  Viewed  at  a distance,  liis  fisli  are  living  and  moving, 
full  of  reality,  while,  as  tliey  are  approached  and  examined,  even  witli  tlie  aid  of  a 
glass,  they  are  found  to  be  minutely  accurate  in  the  rendering  of  even  tlie  texture  of 
skin  and  tlie  arrangement  of  scales.”  — New  York  Sun,  March  19,  1S74. 

“ Tlie  two  pictures  represent  a trout  and  a black  bass.  The  trout  has  the  hook,  has 
made  his  mad  rush,  has  snapped  the  frail  tackle,  and  is  ‘over  the  falls  ’ with  a plunge 
and  a swirl,  and  you  see  him  flash  through  the  green  water.  ....  This  work  shows  the 
most  astounding  care,  all  those  delicate,  soft,  pink  points  on  the  trout’s  side  imitate 
nature,  and  the  wondrous  delicate  gossamer  fins  absolutely  undulate.  The  bass  is  quite 
as  surprising  as  a picture.  It  is  not  only  as  a work  of  art  that  it  is  admirable  ; it  has 
the  merit  of  being  a perfect  ichthyological  study.”  — Forest  and  Stream,  March  26,  1874. 

Tryon,  Benjamin  F.  (Am.)  Born  in  New  York  City,  1824. 
Pupil  of  Richard  Bengough  and  James  H.  C^fferty.  His  subjects  are 
landscapes,  and  bis  works  are  in  galleries  in  Boston  (where  he  now 
resides)  and  other  cities.  He  has  exhibited  at  the  Boston  Art  Club 
exhibitions,  and  at  the  Academy  of  Design  in  New  York,  since  1866. 
His  “New  England  Scenery”  was  at  the  Mechanics’  Fair,  Boston, 
1878.  Among  his  works  are  “River  St.  Lawrence  near  the  Thousand 
Islands,”  “ Early  Autumn  Afternoon,”  “ Conway  Valley  and  Moat 
Mountain,”  “ A Quiet  Nook,”  etc.  His  “ View  of  San  Miguel  Falls, 
San  Juan  Mountains,”  exhibited  in  Boston  in  November,  1878,  excels 
his  former  work,  and  has  been  the  means  of  attracting  attention  to 
this  artist. 

rSchaggeny,  Charles  Philogfene.  {Belgian.)  Born  at  Brussels, 
181 5.  Chevalier  of  the  Order  of  Leopold.  Pupil  of  Eugene  Verboeck- 
hoven.  His  pictures  represent  animals  and  landscapes.  At  the 
Latham  sale.  New  York,  1878,  “ Rest  at  a Blacksmith’s  Shop  ” (30  by 


304  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


44)  sold  for  $800.  To  the  Exposition  at  Paris,  in  1878,  he  sent 
“ Before  the  Storm.” 

TSchaggeny,  Edmond.  {Belgian.)  Born  at  Brussels  (1818- 
1873).  Chevalier  of  the  Order  of  Leopold.  Brother  of  the  preceding, 
and  pupil  of  the  same  master.  He  has  also  chosen  similar  subjects 
for  his  pictures.  At  the  Leipsic  Museum  there  is  a “ Resting  Herd  ” 
painted  by  him.  At  the  Latham  sale,  a water-color,  the  “ Shepherdess 
and  Flock  ” (20  by  30)  brought  $ 275.  At  the  Khalil  Bey  sale,  1868, 
“ Shepherd  and  Sheep  ” brought  £ 268,  and  in  London,  in  1872,  a pair, 
“ Returning  to  the  Fold  ” and  “ Repose  of  the  Flock,”  brought  232 
guineas. 

Tuckerman,  S.  S.  (Am.)  A native  of  Massachusetts.  He  paints 
marine  views  and  landscapes,  and  studied  under  Hunt  in  Boston. 
He  has  also  studied  in  Paris.  At  present  (1878)  he  is  a resident  of 
London.  In  1876  a collection  of  some  forty  of  his  works,  chiefly  au- 
tumnal views,  and  scenes  of  North  Easton  and  Newburyport,  Mass., 
was  on  exhibition  in  Boston,  where  many  of  them  are  oumed.  To 
Philadelphia,  the  same  year,  he  sent  “ Beach  at  Hastings  ” and  “ The 
United  States  Frigate  Constitution  escaping  from  the  British  Fleet 
in  1812.” 

Turcan,  Jean.  (Fr.)  Bom  at  Arles.  Pupil  of  Cavalier.  Medal 
of  the  second  class  in  1878,  when  he  exhibited  “ Ganpnede,”  a group 
in  plaster. 

Turner,  Joseph  M.  W.,  R.  A.  (Brit.)  (1775-1851.)  Displayed 
artistic  talents  at  an  early  age,  e.xhibiting  at  the  Royal  Academy,  in 
1787,  two  drawings.  In  1788  he  was  in  the  office  of  an  architect 
in  London,  entering  the  Royal  Academy  schools  in  1789,  subsequently 
making  sketching-tours  along  the  banks  of  the  Thames,  in  Wales,  and 
the  North  of  England.  He  confined  himself  for  a few  years  to  water- 
color  sketches,  which  were  se7it  annually  to  the  Academy.  “ Moon- 
light, — a Study  at  Millbank,”  was  his  first  oil-painting  at  the  Royal 
Academy  in  1797.  His  “ Battle  of  the  Nile  ” appeared  in  1799.  He 
was  elected  an  Associate  of  the  Royal  Academy  in  1800,  Academician 
in  1802.  In  1807  he  was  elected  Professor  of  Perspective.  He  vis- 
ited Italy  .three  times.  He  had  no  family,  and  left  his  pictures  to  the 
nation.  Over  a hundred  of  his  paintings,  and  as  many  sketches  and 
drawings,  are  in  the  National  Gallery,  London,  dating  from  1790  to 
1850.  Of  all  the  artists  of  the  nineteentli  century.  Turner  was  per- 
liaps  the  most  remarkable,  and  of  no  artist  in  any  age  h;rs  more  been 
written.  There  is  no  space  here  for  enumeration  of  his  works,  or 
further  account  of  his  career,  with  which  so  many  volumes  have  been 
filled.  His  pictures  now  command  fabulous  prices.  His  “ Ant- 
werp, — Van  Goyen  looking  for  a subject,”  ])ainted  in  1833,  was 
sold  in  London,  in  1863,  for  2,510  guineas  ($  16,000),  its  original 
price  to  the  artist  being  perhaps  less  than  one  tenth  of  that  sum  ; 
some  of  his  drawings  at  the  same  sale  bringing  $ 2,500  to  $ 3,000. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  305 


His  “ Slave  Ship  ” (36  by  48),  exhibited  at  the  Royal  Academy  in 
1840,  and  purchased  by  John  Taylor  Johnston  from  Mr.  Ruskin, 
was  sold  in  1876  for  $ 10,000,  to  Miss  Alice  Hooper  of  Boston.  One 
hundred  and  five  of  his  drawings  and  pictures,  at  a sale  in  London, 
April,  1878,  brought  over  £ 73,000,  or  $ 365,000.  Turner’s  “ Dolbad- 
den  Castle,  North  Wales,”  lent  by  the  Royal  Academy  of  London, 
was  in  the  Philadelphia  Exhibition  of  1876. 

“ I believe  if  I were  reduced  to  rest  Turner’s  immortality  upon  any  single  work,  I 
should  choose  ' The  Slave  Ship.’  Its  daring  conception,  ideal  in  the  highest  sense  of  the 
word,  is  based  on  the  purest  truth,  and  wrought  out  with  the  concentrated  knowledge 
of  a life.  Its  color  is  absolutely  iierfect,  not  one  false  or  morbid  hue  in  any  part  or  line, 
and  so  modulated  that  every  square  inch  of  canvas  is  a perfect  composition  ; its  drawing 
as  accurate  as  fearless  ; the  ship  buoyant,  bending,  and  full  of  motion  : its  tones  as 
true  as  they  are  wonderful ; and  the  whole  picture  dedicated  to  the  most  sublime  of  sub- 
jects and  impressions  (completing  thus  the  perfect  system  of  all  ti-iith,  which  we  have 
shown  to  be  formed  by  Turner’s  works),  — the  power,  majesty,  and  deathfuluess  of  the 
open,  deep,  illimitable  sea.”  — Ruskin’s  Modern  Painters. 

‘‘Thacker.ay,  when  siieaking  of  ‘The  Slave  Ship  ’ by  the  same  amazing  artist,  says, 
with  delightful  naivete,  ‘I  don’t  know  whether  it  is  sublime  or  ridiculous.’”  — Dit. 
Brown’s  Spare  Hours. 

“ Turner  had  three  styles  as  a landscape-painter  ; the  first  was  highly  elaborated,  e.s- 
pecially  in  his  water-color  drawings.  The  contrast  of  style  between  his  early  and 
latest  works  is  remarkable  ; in  the  best  of  his  early  works  he  shows  a strong  imitation 
of  Wilson  and  a certain  coldness  of  color  ; the  Latest  are  distinguished  for  their  exces- 
sive looseness  of  execution  and  extravagance  of  coloring.  It  is  in  his  middle  style  that 

he  is  greatest,  th.at  he  is  himself.  The  middle  iieriod  may  date  from  1S02  to  1S32 

In  the  last  ten  years  of  his  career  and  occasionally  before.  Turner  was  extravagant  to  an 
extreme  degree  ; he  iilayed  equally  with  nature  and  with  his  colors.  Light  with  all  its 
prismatic  v.arieties  seems  to  have  been  the  chief  object  of  his  studies  ; individuality  of 
form  or  color  he  was  wholly  indifferent  to.  The  looseness  of  execution  in  his  latest 
works  has  not  even  the  apology  of  having  been  attempted  on  scientific  principles;  he 
did  not  work  upon  a particular  iiolnt  of  a picture  as  a focus  and  leave  the  rest  obscure, 
as  a foil  to  enhance  it,  on  a principle  of  unity  ; on  the  contrary,  all  is  equally  obscure 
and  wild  alike.  These  last  productions  are  a calamity  to  his  reputation  ; yet  we  may, 
perhaps,  safely  assert  that,  since  Rembrandt,  there  has  been  no  painter  of  such  origi- 
nality and  power  as  Turner.”  — Wornum’s  Epochs  of  Painting. 

‘‘No  landse.ape-painter  has  yet  appeared  with  such  versatility  of  talent.  His  histor- 
ical landscapes  exhibit  the  most  exquisite  feeling  for  beauty  of  hues  and  effect  of  light- 
ing, at  the  same  time  that  he  has  the  power  of  making  them  express  the  most  varied 

moods  of  nature I should  therefore  not  hesitate  to  recognize  Turner  as  tlie  greatest 

landscape-painter  of  all  times,  but  for  his  deficiency  in  an  indispensable  element  in  every 
work  of  art,  viz.  a sound  technical  basis."  — Dr.  Waagen,  Treasui'y  of  Art  in  Great 
Britain. 

“ Turner’s  great  genius  needs  no  panegyric  ; his  best  monument  is  the  great  works 
bequeathed  by  him  to  the  nation,  which  will  be  ever  the  most  lasting  memorial  of  his 
fame.  ” — Smiles’  Self-Help. 

‘‘That  day  [May  5, 1S12],  I saw  at  the  Exhibition  a picture  by  Turner,  the  impres- 
sion of  which  still  remains  [written  in  1840],  It  .seemed  to  me  the  most  marvelous 
landscape  I had  ever  seen,  ‘ Hannibal  crossing  the  Alps  in  a Storm.’  I can  never  forget 
it." — Diary  o/ Henry  Crabbe  Robinson. 

“ I must  request  you  to  turn  your  attention  to  a noble  river-piece  by  Turner,  ‘ The  Fight- 
ing Teni^raire,’  as  grand  a painting  as  ever  figured  on  the  walls  of  any  academy,  or 
came  from  the  easel  of  any  painter It  is  absurd,  you  will  say  (and  with  a great 

T 


306  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


deal  of  reason)  for  Titmarsh  or  any  other  Briton  to  grow  so  politically  enthusiastic  about 
a four-foot  canvas  representing  a ship,  a steamer,  a river,  and  a sunset.  But  herein 
surely  lies  tlie  power  of  the  great  artist.  He  makes  you  see  and  tliiiil;  of  a great  deal 
more  than  the  objects  before  you  ; he  knows  how  to  soothe  or  to  intoxicate,  to  lire  or  to 
depress,  by  a few  notes,  or  fonns,  or  colors,  of  wliich  we  cannot  trace  the  effect  to  the 
source,  but  only  acknowledge  the  power.”  — Thackeray,  in  Fra$er*s  Magazine,  1839. 

“ The  influence  of  Tumer  upon  engraving  might  supply  the  subject  for  a separate 
essay.  He  educated  a whole  school  of  engravers,  and  a veiy  remarkable  school  it  was  : 
he  educated  them  first  by  showing  them  the  more  subtle  and  delicate  tonality  in  his 
l)ictures,  and  afterwards  by  a strict  supervision  of  their  work  as  it  proceeded.  His  best 
qualities  as  a teacher  came  from  his  union  of  extreme  delicacy  with  force  : his  worst 
fault,  his  most  evil  influence,  came  from  his  reckless  desire  for  brilliance,  which  made 
him  always  ready  to  destroy  the  tranquillity  of  a plate  if  he  thought  that  it  did  not 
look  effective  enough.  This  was  the  same  si)irit  acting  in  another  direction  which  made 
liim  so  determined  to  make  his  pictures  brilliant  at  all  costs,  on  the  walls  of  the  Acad- 
emy ; but  there  he  could  achieve  it  with  the  heli»  of  chrome,  and  cobalt,  and  vermilion. 
On  a dull  jilate  he  had  no  resource  but  that  of  glittering  lights,  which  he  scattered  in 
profusion  Mike  stars  on  the  sea.’  ” — P.  G.  Hamerton,  in  the  Portfolio,  March,  1878. 

“ The  following  opinion,  expressed  by  an  intelligent  and  accomplished  American 
artist,  Mr.  George  Inness,  is  interesting  for  its  frankness:  ‘ Turner's  “Slave  Ship  **  is 
the  most  infeiDal  ijiece  of  claptrap  ever  jiainted.  There  is  nothing  in  it.  It  ha.«  as  much 
to  do  with  human  affections  and  thought  as  a ghost.  It  is  not  even  a fine  bouquet  of 
color.  The  color  is  harsh,  disagreeable,  and  discordant'  This  is  severe,  and  I think  its 
severity  is  partly  due  to  reaction  against  Mr.  Raskin’s  eloquent  praises.  On  the  other 
hand,  I liave  observed  that  some  Americans  seem  to  think  it  a sort  of  duty  to  admire 
Tunier,  and  to  become  enthusiastic  about  even  his  least  important  works.  May  I ven- 
ture to  observe,  both  to  American  and  English  readers,  that  nobody  is  under  any  obliga- 
tion to  admire  either  tlie  late  or  the  early  works  of  Turner  : that  they  are  as  much  open 
to  criticism  as  those  of  any  other  artist,  and  that  the  best  way  to  judge  them  fairly  is  to 
look  at  them  as  if  they  had  never  been  either  praised  or  censured.  The  warm  contro- 
versy at  Boston  about  the ‘Slave  Ship ’ was  caused  by  a feeling  of  rebellion  in  some 
minds,  too  independent  to  accept  dictation  from  an  English  critic,  whilst  others  de- 
fended the  picture  as  the  work  of  a man  of  genius  who  had  been  roughly  treated  by  the 
])ress.  An  antagonism  of  this  description  is  good  for  the  fame  of  an  artist,  because  it 
makes  everybody  talk  about  him,  but  truth  disengages  itself  only  wlien  the  noise  has 
ceased  and  the  smoke  of  battle  has  passed  away.  It  is  not  of  the  least  use  to  argue 
about  color.  From  Mr.  Ituskin  the  color  of  the  ‘ Slave  Ship  ’ calls  forth  no  harsher 
criticism  than  that  he  thinks  ‘the  two  blue  and  white  stripes  on  the  drifting  flag  of  the 
“ Slave  Ship  ” in  the  last  degree  too  purely  cold,’  and  he  elsewhere  expressly  approves 
of  its  strongest  passages.  It  is  one  of  those  compositions  in  which  Tunier  used  the  most 
brilliant  of  all  his  jngments.  A lurid  splendor  was  his  purpose,  and  he  hesitated  at 
nothing  for  its  attainment.  It  is  hardly  jiossible  for  any  painter  to  deal  with  vermilion 
and  lemon  yellow,  in  any  quantity,  without  falling  into  some  degree  of  crudity.  If  you 
compare  even  the  ‘Tcmeraire’  with  the  rich,  deep  Inannonies  of  Titian  ami  Giorgione 
you  will  feel  it  to  be  relatively  crude.  Btit  are  fiery  sunsets  never  to  be  painted  ? 

“ Form  may  be  argued  about  more  positively.  The  wave-forms  in  the  slaver  are 
original,  but  they  are.  I believe,  carefully  observed.  The  comparatively  flat,  or  simply 
swelling  space,  between  the  ridges  of  broken  sea  I have  often  seen  in  nature,  and  the 
sudden  leaping  of  the  spray  is  no  doubt  also  a reminiscence.  Tlie  introduction  of  the 
sharks,  manacles,  and  human  hand  and  leg  was  artistically  awkward  to  manage,  and  is 
so  horrible  that  the  mind  revolts  from  these  details.  The  thoroughness  of  study  in  the 
sky  may  be  judged  of  by  the  rain-cloud  engraved  from  it  by  Mr.  Annitage  under  the 
title.  ‘ The  Locks  of  Typhon.'  Our  sense  of  the  delicacy  of  this  piece  of  work  may  l>e 
heightened  by  the  exquisiteness  of  the  engraver’s  peiformance  : but  the  painter  must 
have  worked  delicately  also.”  — P.  G.  HAiiERTON,  Hie  Port/o/io,  1S7S. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  307 


Turner,  William  Green.  (Am.)  Born  at  Newport,  R.  I.,  1833. 
He  went  abroad  for  the  purpose  of  studying  sculpture,  and  was  for 
some  time  a pupil  of  the  Academy  of  Fine  Arts  in  Florence,  spend- 
ing his  professional  life  there  and  in  other  Italian  cities.  He  is  a 
member  of  two  of  the  Florentine  Art  Societies.  Among  his  works 
may  be  mentioned,  “ Transition  ” (“  There  is  no  death  ; what  seems 
so  is  transition.”  Longfellow),  which  was  exhibited  at  the  Centen- 
nial at  Philadelphia  in  1876,  and  is  now  in  charge  or  possession  of 
Mr.  Sartain  of  the  Philadelphia  Academy  of  Fine  Arts  ; with  two 
medallions,  “Night”  and  “Morning.”  His  “Fisherman’s  Daughter,” 
also  at  the  Centennial  Exhibition,  was  purchased  by  Mr.  Wolverton, 
and  is  now  in  his  collection  at  Philadelphia.  In  his  studio  (1878) 
are,  “ Rhoda,”  “ The  Herald  of  Peace  ” (an  allegory  to  be  cast  in 
bronze),  and  “ Sabrina”  from  “ Comus  ” (still  in  clay). 

“A  most  splendid  figure,  half  life-size,  now  adorns  Jlr.  Tamer’s  studio  ; it  represents 
‘Rhoda ’when  she  ran  in  and  told  how  ‘ Peter  stood  before  the  Gate.’  His ‘Night* 
and  ‘ Morning  ’ (medallion  busts),  and  his  ‘ Incredulity  ' and  ‘ Herald  of  Peace,’  all  give 
evidence  of  the  original  genius  of  the  artist.  His  compositions  show  great  originality, 
and  are  more  distinguished  for  largeness  and  simplicity  of  masses  than  for  secondary 
matters  of  fine  detail.”  — Sviiss  TimeSf  December,  1876. 

Twachtman,  J.  H.  (Am.)  Born  in  Cincinnati,  1853.  He  began 
his  art  studies  in  the  School  of  Design  in  Cincinnati,  and  .spent  the 
winter  of  1874  and  ’75  in  Duveneck’s  Life  School  and  Painting  Class 
in  the  same  city.  He  went  to  Europe  in  the  fall  of  1875,  entering  the 
Art  School  at  Munich,  where  his  professional  life  so  far  has  been  spent. 
He  is  a member  of  the  American  Art  Club  of  Munich,  and  exhibited 
for  the  first  time  in  New  York  with  the  Society  of  American  Artists, 
in  1878,  two  “ Italian  Scenes.” 

Ulivi,  Pietro.  (Ital.)  Born  at  Pistoia,  1806.  Professor  in  the 
Royal  Lyceum,  Forteguerra.  He  won  many  prizes  in  various  cities 
of  Italy.  His  portraits  are  celebrated  for  their  fine  coloring.  Many 
of  his  best  works  are  in  his  native  city.  His  correctness  in  drawing 
is  remarkable.  Victor  Emmanuel  II.  bought  his  picture  of  a “ Father 
blessing  his  Son,  who  goes  forth  to  be  a Soldier.”  Ulivi  was  chosen 
to  copy,  for  engraving,  the  frieze  around  the  Hospital  of  Pistoia,  con- 
taining the  bassi-relievi  of  the  Della  Robbia. 

Ulmann,  Benjamin.  (Fr.)  Born  at  Blotzheim.  Chevalier  of 
the  Legion  of  Honor.  Pupil  of  Drolling  and  Picot.  This  artist 
paints  many  portraits.  Among  his  other  works  are,  “ Remorse,” 
“ The  Gitanos  of  Granada,”  “The  Bell-Ringers  of  Nuremberg,”  etc. 
At  the  Luxembourg  is  his  picture  of  “ Sylla  at  the  House  of  Marius  ” 
(1866).  To  the  Paris  Salon  of  1878  he  sent  “ The  Lurlei.” 

Unger,  Wilhelm.  (Ger.)  Born  at  Hanover,  1837.  Professor  at 
Vienna.  Pupil  of  Keller  and  Thater.  Medal  at  Philadelphia,  where 
he  exhibited  the  following  etchings  : “ Marine  View,”  after  Van 
der  Capella  ; “ Portrait,”  after  Velasq^uez ; “ Portrait,”  after  Palma 


308  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Vecchio  ; “ Landscape,”  after  Hobbema  ; “ Jacob’s  Blessing,”  after 
Govaert  Flinck  ; “ Catherine  Comaro,”  after  Hans  Makart  ; “ Katrina 
Fonrment,”  after  Kiibens.  Unger  is  one  of  the  best  living  etchers, 
and  his  works  are  much  sought  for  illustrations  of  books  of  luxurj', 
etc.  To  the  Paris  Exposition,  1878,  he  sent  “ La  ronde  de  nuit,”  after 
Eembrandt  ; a portrait  of  Eembrandt,  after  his  own  picture  ; and 
other  etchings  after  Eubens,  Snyders,  and  other  ancient  masters. 

Ussi,  Commander  Stefano.  (Ital.)  Born  at  Florence,  1822. 
Medal  at  Paris,  1867,  and  at  Vienna  in  1873.  Professor  of  Fine  Arts 
at  Florence.  Pupil  of  Pollastrini,  and  a painter  of  the  first  rank. 
“ The  Expul.sion  of  the  Duke  of  Athens,”  an  early  work,  won  much 
fame  for  the  artist,  and  gained  the  gold  medal  at  the  Paris  Exposition 
in  1867.  It  is  now  in  the  Gallery  of  Modern  Paintings  in  Florence. 
He  went  up  the  Nile,  and  brought  back  many  valuable  sketches.  His 
“ Departure  of  a Caravan  for  Mecca  ” was  a commission  from  the 
Khedive  of  Egypt,  who  declared  that  the  picture  merited  a frame  of 
gold.  It  was  much  noticed  at  Vienna  in  1873.  One  of  his  latest 
works  is  a fine  painting  of  the  “ Last  Day  of  Bianco  Capello.”  His 
portrait  is  in  the  collection  of  autograph  portraits  in  the  Uffizi.  To 
Paris  in  1878  he  sent  “ Bianca  Capello  at  Poggio  a Cajano  attempts  to 
poison  the  Cardinal  de’ Medici,”  and  two  Eastern  scenes. 

Uwins,  Thomas,  E.  A.  (Brit.)  Born  in  London  (1782-1857). 
He  began  life  as  an  engraver,  entering  the  schools  of  the  Eoyal  Acad- 
emy. Later,  he  devoted  himself  to  oil  and  water-color  painting.  He 
painted  portraits  for  some  time  in  Scotland  and  on  the  Continent.  As 
early  as  1811  he  was  Secretary  of  the  Society  of  Painters  in  Water- 
Colors,  contributing  to  its  exhibitions  for  many  years.  He  was  elected 
Associate  of  the  Eoyal  Academy  in  1833,  on  the  strength  of  his  “ In- 
terior of  a Saint  Manufactory  at  Naples.”  He  was  made  Academi- 
cian in  1839.  He  was  Keeper  of  the  National  Gallery  from  1847  to 
’55,  and  for  some  time  Librarian  of  the  Eoyal  Academy.  Among 
the  more  important  of  his  many  works  are,  “ Taking  the  Veil,”  “ Vint- 
age in  the  Claret  Vineyards,  South  of  France,”  “ Le  Chapeau  de 
Brigand,”  and  “ Sir  Guyon  fighting  for  Temperance  ” (the  last  three 
in  the  National  Gallery).  Uwins,  during  his  long  career,  exhibited,  in 
all,  one  hundred  and  two  pictures  at  the  Eoyal  Academy.  Many  of 
his  works  have  been  engraved. 

“Among  the  many  .artists  either  already  eminent  or  rising  to  eminence,  who  made  the 
acquaintance  of  Lady  Blessington  in  Italy,  was  Hr.  Uwins,  the  painter,  who  already 
[1S24]  had  acquired  celebrity  by  several  works  in  which  the  glowing  scenery  and  pictu- 
resque inhabitants  of  Rome  and  Naples  were  delineated,  in  a style  of  the  highest  excel- 
lence.” — Memoirs  of  the  Countess  of  Blessington. 

Vaini,  Pietro.  (Ital.-Am.)  Bom  in  Eome  (1847  - 1875).  Stud- 
ied and  practiced  art  in  Italy.  In  1872  he  settled  in  NewTork, 
where  he  painted  portraits  of  a number  of  prominent  people  with  con- 
siderable success.  His  large  figure-pictures  attracted  much  attention 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  309 


■when  exhibited,  on  account  of  the  morbidly  somber  nature  of  the  sub- 
jects, and  the  vivid,  and  sometimes  horrible,  realism  of  his  treatment 
of  them.  His  “ Othello  and  the  Handkerchief'’  (property  of  the  Pal- 
ette Club),  his  “ First  Grief,”  “After  the  War,”  and  “ Veronica  gazing 
upon  the  Face  of  her  Dead  Rival,”  will  not  be  (quickly  forgotten  by  those 
who  saw  them.  These  did  not  meet  with  ready  sale  in  this  country. 
His  smaller  ideal  works,  pleasanter  in  style,  and  generally  pictures 
of  fashionable  life,  were  more  popular.  His  death  was  startling  and 
dramatic.  While  entertaining  a party  of  friends  at  a picnic  by  the 
recitation  of  a tragic  poem  in  his  native  language,  he  illustrated  the 
narrative  by  taking  his  own  life  as  described  by  the  poet. 

**  As  a colorist  Vaini  had  no  superior  in  this  country,  and  his  style  was  fully  in  accord 
■with  that  of  the  famous  school  in  wiiich  he  was  educated.  He  was  an  indefatigable 
worker,  and  left  a rare  collection  of  studies  as  well  as  finished  pictures.” — Art  Journal, 
October,  1875. 

Valerio,  Theodore.  (Fr.)  Born  at  Herserange,  1819.  Chev- 
alier of  the  Legion  of  Honor.  Pupil  of  Charlet  at  Paris.  This 
painter  is  remarked  for  his  water-colors  and  etchings.  Several  of 
his  pictures  show  the  customs  of  the  Montenegrins,  Tsiganes,  Hun- 
garians, etc.  At  the  Salon  of  1876  he  exhibited  “ The  Beach  at  Tres- 
malouen  in  a Storm”  and  “ Women  near  Carnac  ” ; in  1875,  “ A Well 
of  Sweet  Water,  near  Carnac,”  “The  Departure  for  the  Fields,” 
“ Saint  Colombau,”  and  a “ Souvenir  of  the  Rocks  of  Kermarie  at 
Low  Tide.” 

Vallance,  W.  F.  (Brit.)  Born  in  Paisley.  Went  to  Edinburgh 
in  his  youth,  studying  from  the  antique  under  Robert  Scott  Lauder, 
and,  later,  passing  through  the  Life  School  of  the  Royal  Scottish 
Academy.  He  first  exhibited  small  figure-pieces,  subsequently  turn- 
ing his  attention  to  marine  views.  He  is  a resident  of  Edinburgh, 
•and  was  elected  an  Associate  of  the  Royal  Scottish  Academy  in  1875. 
Among  his  works  are,  “ Sunday  Morning,”  “ Leisure  Hours,”  “ Loch 
Fine,”  “ Largo  Bay,”  “ A Fresh  Breeze,”  etc. 

Valles,  Lorenzo.  (Span.)  Of  Madrid.  Medal  at  Philadelphia, 
where  he  e.xhibited  the  “ Insanity  of  Donna  Juana  de  Castille.” 

Van  Blten,  Kruseman.  (Dutch- Am.)  Born  in  Alkman,  FIol- 
land,  1829.  Chevalier  of  the  Order  of  the  Lion,  of  the  Netherlands. 
Member  of  the  Academies  of  Amsterdam  and  Rotterdam,  and  of  the 
Belgian  Water-Color  Society  ; Associate  of  the  National  Academy, 
New  York ; and  member  of  the  American  Society  of  Painters  in 
Water-Colors.  Medals  at  Amsterdam  in  1860,  and  at  Philadelphia  in 
1876.  He  was  instructed  in  drawing  in  his  native  town,  and  in  1844 
went  to  Haarlem  and  studied  painting  under  C.  Lieste  and  other 
masters.  His  professional  life  has  been  spent  in  Haarlem,  Amster- 
dam, Brussels,  and  New  York,  and  he  has  made  sketches  in  Ger- 
many, Austria,  Switzerland,  France,  and  England. 

To  the  National  Academy,  New  York  (in  oil),  Van  Elten  has  con- 


310  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


tributed  many  pictures  : “ Summer  Morning,  Esopus  Creek,”  in  1867  ; 
“Druidical  Tombs,  Holland,”  in  1869;  “Peace”  and  “War,”  in 
1870  ; “ Morning  in  the  Har/,”  in  1871  ; “ Passing  Shower  near 
Pittsfield,  Mass.,”  in  1875  ; “ Cornfields,”  in  1876  ; “Landscape,  Dela- 
ware,” in  1877'  “ Summer  Day,  Winnockie  Kiver,  N.  J.,”  in  1878.  To 
the  Water-Color  Society  E.xhibition,  in  1867,  he  sent  “ Sunday  Morn- 
ing in  Holland”  ; in  1871,  “ Meadows  near  Farmington”  ; in  1875, 
“Evening,  Long  Island  Sound  in  1876,  “ Landscape  in  Holland  ” ; in 
1877,  “ Landscape  near  Torresdale,  Pa.,”  “ Chickens,”  and  “ Ducks  ” ; 
in  1878,  “Home,  Sweet  Home, — Scene  in  Holland,”  “ Morning  near 
Gloucester,  Mass.,”  and  othens.  To  the  Centennial  E.xhibition  of 
1876  he  sent,  “Clearing  Off,  Adirondacks,”  “The  Grove  in  the 
Heath,”  “ Russell’s  Falls,  Adirondacks”  (in  oil),  and  “ Autumn  in  the 
White  Mountains  ” (in  water-colors). 

Among  his  earlier  works  may  be  mentioned,  “ Early  Morning  in 
the  Woods”  (belonging  to  the  Queen  of  Holland),  “Sunday  Morn- 
ing,” “ Interior  of  the  Woods,”  “ Landscape  in  Gelderland  ” (in 
private  collections  in  Haarlem  and  Amsterdam).  His  “ Well  in  the 
Heath  ” belongs  to  Jay  Cook  of  Philadelphia. 

“ To  the  earnest  student  of  landscape  ait  Mr.  Van  Elten’s  pictures  furnish  an  agree- 
able surj^rise  ; their  originality  of  treatment  raises  them  above  the  common  art  level,  and 
their  boldness  and  vigor  of  coloring  are  not  reflected  in  tlie  works  of  any  of  his  contem- 
poraries. In  his  pictures  Van  Elten  rarely  composes  ; he  selects  his  studies  with  the 
idea  of  making  pictures,  and  hence  when  finished  they  are  perfect  and  truthful  portraits 
of  the  scenes  they  puriiort  to  represent  ....  There  is  a calm  sweetness  about  this  pic- 
ture [‘  Landscaiie  on  the  Farmington  River  a depth  of  jierspective,  and  conscientious 
elaboration  of  detail  which  will  be  appreciated  by  all  lovers  of  the  beautiful.  In  its 
composition  it  shows  an  harmonious  tone  which  is  in  keeping  with  the  scene  in  Nature.'' 
— Art  Journal^  November.  1S77. 

Van  Hove,  Victor.  (Belgian.)  Bom  at  Renai.x,  1825.  Medals 
at  Paris  for  sculpture  and  painting.  Of  later  years  tbis  artist  seems 
to  have  abandoned  sculpture,  and  paints  genre  landscapes  ; such  as, 
“Fishermen’s  Daughters  of  the  Coasts  of  Flanders,”  “Orphans  going 
to  Church,  near  Dordrecht,”  etc.  His  sculptures  of  the  “Child  play- 
ing with  a Cat  ” and  “ A Slave  after  the  Bastinado  ” were  exhibited 
in  Paris,  and  were  well  received. 

Van  Lerius,  Joseph  Henri  Francois.  (Dutch.)  Born  at  Boom, 
near  Antwerp  (1823  - 1876).  Professor  of  Painting  in  the  Academy  of 
Antwerp.  Honorary  Member  of  the  Academies  of  Rotterdam,  Amster- 
dam, and  Saxony.  Chevalier  of  the  Onler  of  Leopold.  Pupil  of  the 
Academy  of  Brussels,  schools  of  Antwerp,  and  of  Banjii  AVappers.  At 
first  Van  Lerius  painted  portraits,  in  which  department  he  was  success- 
ful. His  first  subject-picture  was  “ An  Interview  between  Leicester 
and  Amy  Robsart,”  followed  by  “ Milton  dictating  to  his  Daughter”  and 
“ Paul  and  Virginia  crossing  the  Stream,”  which  last  was  in  the  collec- 
tion of  the  Baroness  Voykerstoot  at  Brussels.  Among  his  later  works 
are,  “Esmeralda”  (1848),  in  the  Brussels  Museum  ; “Adam  and  Eve” 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  311 


(1848)  ; “The  Four  Ages  ’’ ; “ The  First-Born,”  bought,  by  Queen  Vic- 
toria ; “Volupte  et  Denouement”  (1857),  bought  by  Prince  Saxe- 
Coburg  of  Gotha;  “Cinderella”;  “The  Golden  Age”;  Joan  of 
Arc”  ; “Venice”  ; “ Portrait  of  a Swedish  Girl”  ; etc.  . In  1877  the 
city  of  Antwerp  Ijought  the  “Lady  Godiva”  for  18,000  francs.  At 
the  International  Exposition  at  Munich,  in  1869,  he  exhibited  a melo- 
dramatic work  called  “ Plutot  mourir”  ; it  represented  a young  girl 
throwing  herself  from  a window  in  order  to  escape  dishonor. 

Van  Luppen,  G.  J.  A.  (Belgian.)  Of  Antwerp.  Medal  at  Phil- 
adelphia, where  he  exhibited  “ After  the  Rain  ” and  “ Before  the 
Storm.”  To  Paris,  in  1878,  he  sent  the  last-named  picture  and  “ La 
Flandre.” 

Van  Marcke,  Emile.  (Fr.)  Born  at  Sevres.  Chevalier  of  the 
Legion  of  Honor.  Pupil  of  Troyon.  At  the  Salon  of  1877  he  exhib- 
ited, “ The  Spring  at  Neslette,  in  Normandy,”  belonging  to  Mr. 
Brown  of  Philadelphia;  in  1876,  “The  Cliff”  ; in  1875,  “The  Vil- 
lage Pasture,  Normandy,”  “The  River  Morte  at  Treport,”  and  “A 
Bridge  on  the  Bresles,  Normandy.”  At  the  Johnston  sale.  New  York, 
1876,  “A  Herd  of  French  Cattle”  (38  by  59)  sold  for  ^5,100,  and 
“Landscape  with  Cattle”  (14  by  21)  for  $2,550.  At  the  Walters 
Gallery  is  a large  picture  of  cattle  by  Van  Marcke  ; and  a fine  picture 
by  the  same  artist  is  in  the  collection  of  Mrs.  H.  E.  Maynard  of  Bos- 
ton. 

Vannutelli,  Cavaliere  Scipione.  (Ital.)  Born  at  Rome,  where 
he  resides.  Medals  at  Paris  in  1864  and  ’67.  At  the  Paris  Exposi- 
tion of  1878  he  exhibited  “ The  Monferrina  ” (an  Italian  dance)  and 
“ The  Night.”  At  the  Salon  of  the  same  year  were  “ The  Roman 
Campagna”  and  “An  Agreeable  Reading”  ; in  1877,  “A  Procession 
at  Venice  ” ; etc.  [This  artist  merits  a more  extended  notice,  but  no 
reliable  information  could  be  obtained.] 

Varley,  John.  (Brit.)  (1778  - 1842.)  One  of  the  early  English 
artists  in  water-colors,  and  a founder  of  the  Old  Water-Color  Society, 
in  1805.  He  painted  many  views  in  Wales  and  the  valley  of  the 
Thames,  and  was  the  author  of  several  text-books  on  drawing,  some 
of  which  are  still  in  use.  Among  his  works  are,  “ Holy  Island,” 
“ Rochester  Castle,”  “ A Quiet  Stream,”  “ Old  Inn  on  the  Banks  of  the 
Thames,”  “ Conway  Castle,”  etc. 

Varley,  Cornelius.  (Brit.)  Born  in  London  (1781  - 1873). 
Brother  of  John  Varley.  Artist  in  water-colors,  devoting  himself 
chiefly  to  Welsh  and  English  landscapes  and  classical  scenes.  He 
was  one  of  the  original  members  of  the  Society  of  Painters  in  Water- 
Colors. 

Varley,  William  Fleetwood.  {Brit.)  (1785  - 1856.)  Younger 
brother  of  Cornelius  and  John  Varley,  studying  under  the  latter. 
He  painted  landscapes  in  water-colors,  teaching  drawing  at  Oxford 
for  some  years  before  his  death. 


312  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Varni,  Santo.  (Ital.)  Bora  at  Genoa.  He  is  one  of  the  first  sculp- 
tors of  the  day,  and  one  of  whom  Genoa  is  justly  proud.  His  work 
is  chiefly  monumental.  For  Staglieno  he  made  the  fine  monument  of 
Marchese  Donghi,  with  statues  of  “ Prudence,”  “ Eternity,”  and  “ Faith 
in  God.”  At  the  same  place,  also,  is  the  monument  to  ilarchese  Lo- 
mellini,  with  a beautiful  statue  of  “ Grief,”  a monument  to  Dufour,  with 
a sleeping  figure,  and  a very  grand  monument  for  the  Cattanei  family, 
with  a seated  figure  of  the  Saviour,  and  the  figures  of  St.  John  the 
Baptist  and  St.  Matthew  below.  In  Santa  Croce  in  Florence  is  a mon- 
ument to  Giovanni  Eossini,  and  in  Pisa  one  to  Luigi  Canina.  In  the 
Hospital  of  Genoa  are  the  statues  of  Merani  and  Tignago,  by  Varni, 
and  the  monument  to  Columbus  begun  by  Pampaloni  in  Genoa  was 
finished  by  this  sculptor.  The  statues  of  Pagano  Doria  and  Vittorio 
Pisani  in  Venice,  and  Emmanuel  Fileberto  in  the  Royal  Palace  in 
Turin,  are  by  Varni. 

Vasselot,  Anatole  Marquet  de.  (Hr.)  Born  at  Paris,  1840. 
Medals  in  1873  and  ’76.  Pujjil  of  Jouffroy  and  Bonnat.  This  sculptor 
was  intended  for  a diplomatic  career  by  his  family,  but  his  tastes  so 
controlled  him  that  at  length  he  separated  himself  from  all  former 
surroundings,  and  after  many  difficulties  made  his  debut  at  the  Salon 
of  1866.  His  bust  of  Balzac  (1870)  ornaments  the  grand  staircase  of  the 
Comedie-Frangaise,  and  is  a tndy  fine  work.  In  1868  he  made  a good 
medallion  portrait  of  Abraham  Lincoln.  His  best  work  is  the  “ Chloe” 
of  1869.  In  1873  it  was  put  in  marble,  and  was  medaled  and  bought 
by  the  government.  His  “ Christ  in  the  Tomb,”  in  bronze  (1876),  re- 
ceived a second  medal.  His  “ Patrie”  (1874)  was  purchased  for  the 
court  of  the  palace  of  the  Grande  Chancellerie  of  the  Legion  of  Honor. 
In  1875  he  exhibited  a bas-relief  called  “ Honor  to  our  Dead  ! ” and 
in  1876,  a “ Theseus,”  also  bought  by  the  State.  His  portrait  busts 
are  excellent.  This  sculptor  has  received  many  medals  and  testimo- 
nials of  honor  in  various  cities  of  France,  at  Brussels,  and  at  Phila- 
delphia, where  he  exhibited  a portrait  of  Monsieur  Auzoux,  and  a 
figure  of  “ Chloe,”  both  in  bronze.  At  the  London  Academy,  in  1875, 
he  exhibited  “ Chloe,”  in  marble,  and  “ JHle.  Sombreuil,”  and  in  1878, 
at  the  Paris  S;don,  a statue  of  the  “ Young  Greek  Athlete  ” and  a 
bust  in  bronze  of  Ro3e--Lnais. 

Vaudremer,  Joseph- Auguste-Etnile.  (Fr.)  Born  at  Paris,  1829. 
Chevalier  of  the  Legion  of  Honor.  This  architect  gained  the  pruc  de 
Rome  in  1854.  He  has  held  various  offices  in  Paris,  and  has  been  as- 
sociated with  important  works  there  since  1859.  He  has  also  con- 
structed some  civil  and  funereal  monuments,  and  has  sent  to  the 
Salons  very  remarkable  architectural  drawings. 

Vaurdal,  Henri  de.  (Fr.)  Born  at  Paris.  Pupil  of  Toussaint. 
Medal  of  third  class  in  1878,  when  he  exhibited  a plaster  statue  of 
“ Perseus  ” ; in  1877,  he  sent  a bronze  statue,  “ The  Little  Gleaner  ” ; 
in  1876,  a “ Portrait  of  a Child  ” (a  bust  in  bronze). 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  313 


Vautier,  Benjamin.  (Swiss.)  Born  at  Morges,  1830.  Member  of 
the  Academies  of  Berlin,  Munich,  Antwerp,  and  Amsterdam.  Medals 
at  Berlin  and  Paris.  Pupil  of  Rudolph  Jordan  at  Diisseldorf.  Painter 
of  scenes  from  peasant  home-life.  His  “First  Dancing- Lesson ” (vil- 
lage of  the  Black  Forest)  is  in  the  National  Gallery,  Berlin  ; “ A 
Courtier  and  Peasants  of  Wiirtemberg,”  in  the  Museum  of  Bale  ; 
“ After  the  Burial  ” (canton  of  Berne),  in  the  Museum  of  Cologne. 
At  the  Johnston  sale.  New  York,  in  1876,  “ The  Music-Lesson  ” (11 
by  8)  sold  for  $ 360.  At  the  Walters  Gallery  is  his  “ Consulting  his 
Lawyer,”  well  painted  and  full  of  humor  ; also,  “ Caught  in  the  Act.” 

" The  scenes  which  he  places  before  us  are  never  superficially  treated ; he  never  expects 
US  to  be  satisfied  with  the  costumes  iu  place  of  the  characters  of  the  people  he  refjre- 
sents  ; on  tlie  contrary,  his  figures,  in  their  faces  and  in  every  line  of  detail,  express  their 

peculiar  individualities  with  marked  force The  wine-merchant  on  the  Rhine  differs 

from  the  beer-mercliant  in  Bavaria,  and  the  Spieszbiirger  of  a Westphalian  middle  city, 
who  is  happily  placed  between  beer  and  wine,  is  again  a different  person.  Vautier  has 
so  well  hit  this  characteristic  trait-painting,  that  he  proves  himself  not  only  to  have 
studied  closely,  but  he  has  given  rein  to  a natural  genius  for  such  conceptions.  More- 
over, he  has  a full  vein  of  humor  which  is  all  his  own,  but  he  only  gives  way  to  this  when 
it  accords  with  the  subject  he  represents.  He  is  not  one  of  those  who,  by  reason  of 
vanity,  add  to  their  representation  their  o^vn  conceits,  like  some  actors  who  in  side  play 
act  their  ovni  farces  ; but  he  is  a true  interpreter  of  the  poet  whom  he  represents.  Just 
this  beautiful  moderation  brings  out  the  meaning  of  the  composition  as  if  in  a concen- 
trated light,  so  that  the  delight  of  originating  and  that  of  showing  forth  the  intention 
must  almost  be  united  in  one  emotion.”  — W.  L.,  Zeitschrift  fur  tildendc  Kuiist^  1866. 

Vedder,  Elihu,  N.  A.  (Am.)  Born  in  New  York,  1836.  As 
a child  he  showed  decided  talent  for  art,  studying  for  a short 
time  in  his  native  city.  Later,  he  became  a pupil  of  T.  H.  Mat- 
teson  at  Sherbourne,  N.  Y.  After  some  years  spent  in  Italy  he 
opened  a studio  in  New  York,  but  is  at  present  a resident  of  Rome. 
He  was  elected  a full  Member  of  the  National  Academy  of  Design  in 
1865.  Among  Yedder’s  earlier  works  are,  “ The  Lair  of  the  Sea-Ser- 
pent,” “ The  Monk  upon  the  Gloomy  Path,”  “Arab  listening  to  the 
Great  Sphinx,”  “ The  Crucifixion,”  and  “ The  Lost  Mind  ” (belonging 
to  Mrs.  Laura  Curtis  Bullard).  He  sent  to  the  National  Academy,  in 
1869,  “The  Death  of  Abel”  ; in  1871,  “An  Ideal  Head”  ; in  1874, 
“A  Scene  on  the  Mediterranean”  and  “Une  fete  champetre.”  He 
rarely  exhibits,  however,  in  America.  His  “ Greek  Actor’s  Daughter  ” 
was  at  Philadelphia  in  1876  ; his  “ Old  Madonna  ” (belonging  to  E.  D. 
Morgan),  “ Cumean  Sibyl,”  and  “Young  Marsyas  ” were  at  the  Paris 
Exposition  of  1878.  Martin  Brimmer  owns  his  “ Genii.”  “A  Pas- 
toral ” (belonging  to  E.  B.  Haskell)  was  at  the  Mechanics’  Fair,  Bos- 
ton, in  1878. 

" Vigor  and  independence  in  Vedder  are  allied  to  great  ambition  and  general  aesthetic 
instinct.  While  in  Italy  he  manifested  a keen  appreciation  of  the  best  elements  of  its  old 
art.  A clever,  indefatigable  student,  he  never  became  a mere  copyist,  but,  making  notes 
of  ideas  and  technical  details,  assimilated  to  himself  much  of  the  lofty  feeling  and  strong 
manner  of  the  world’s  masters  in  painting.  ....  Vedder  is  a painter  of  ideas.  His  style 
is  naturalistic  as  relates  to  truth  of  illustration,  but  ideal  and  intellectual  iu  motive.  If 

VOL.  II.  14 


314  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


he  were  not  so  drawn  to  painting  by  delight  of  color,  he  could  be  eminent  as  a sculptor. 
That  he  would  be  the  most  original  and  inventive  of  our  school,  the  dramatic  force  of 
expression  and  power  of  modeling  shown  in  his  recent  bas-reliefs  of  the  ‘ Arab  Slave  ’ and 
‘ Endymion  ’ sufficiently  attest.”  — Jarves,  Art  Idea,  1866. 

“ Vedder  is  one  of  the  most  original  of  the  American  jiainters  in  Rome,  distinguished 
especially  for  his  quaiiitness,  alike  in  his  subjects  and  in  their  treatment.”  — Mrs.  Tyt- 
ler’s  Modern  Painters. 

“ Mr.  Vedder  sent  his  ‘Greek  Actor’s  Daughter,'  a thoughtful  and  poetic  conception, 
jiaintod  with  rare  feeling  and  learning.”  — Prof.  Weir’s  Official  Report  of  the  American 
Centennial  Exhibition  of  1516. 

Veit,  Philip.  [Ger.)  Bom  at  Berlin  (1793-  1878).  This  painter 
belonged  to  the  school  of  Cornelius  and  Overbeck.  His  mother  was 
the  daughter  of  Mendelssohn,  and  the  wife  of  Friedrich  Schlegel. 
Veit  was  a devout  Koman  Catholic.  At  the  National  Gallery,  Berlin, 
is  his  picture  of  the  “ Three  Maries.”  His  allegorical  picture  of 
“ Germany,”  represented  as  a young  matron,  and  his  portraits  of  the 
Emperors  of  the  Middle  Ages  made  him  much  reputation. 

Vela,  Vincenzo.  (Ital.)  Bom  at  Ligumetto,  in  the  Swiss 
canton  of  Tessin,  1822.  Officer  of  the  Legion  of  Honor.  Son  of 
poor  peasants,  he  worked  as  a boy  in  quarries,  and  when  fourteen 
went  to  Milan,  where  he  was  employed  in  the  restoration  of  the 
Cathedral.  His  brother,  who  had  become  a sculptor,  placed  him  in 
the  studio  of  Cacciatori.  He  was  often  forced  to  work  by  night  upon 
jewelers’ models,  in  order  to  save  himself  from  starvation.  In  1848 
he  obtained  a prize  at  V enice  for  his  “ Christ  raising  the  Daughter 
of  Jairus.”  In  1847  he  went  to  Rome,  but  was  called  suddenly  away 
to  serve  in  the  army.  He  was  also  a volunteer  in  the  Italian  army 
in  1848.  His  earlier  rvorks  are,  “ Prayer,”  “ Spartacus,”  for  which  he 
received  a medal  at  Paris  in  1855  (bought  by  the  Duke  Antonio 
Litta),  and  some  busts.  He  was  elected  member  of  the  Academy  of 
Milan,  but  declined  the  honor.  In  1855  he  e.vecuted  “ Harmony  in 
Tears,”  for  the  tomb  of  Donizetti.  In  1863  he  e.xhibited  a group, 
“ France  and  Italy,”  given  by  the  ladies  of  Milan  to  the  French  Em- 
press. His  “ Last  Days  of  Napoleon,”  much  remarked  at  the  Exposi- 
tion of  1867,  was  purchased  by  Napoleon  111.  in  the  name  of  the 
French  people.  A replica  was  sold  at  the  Johnston  sale,  New  York, 
for  $ 8,100,  and  is  now  at  the  Corcoran  Gallery,  Washington.  His 
“ Christopher  Columbus,”  “ America,”  and  “ Springtime  ” are  much 
admired.  In  1873  he  was  commissioned  by  the  Town  Council  of 
Geneva  to  execute  the  monument  to  the  Duke  of  Brunsuick,  after 
the  model  of  the  Tomb  of  the  Scaligers  at  Yerona. 

Vely,  Anatole.  (Fr.)  Born  at  Ronsoy.  ]\Iedal  in  1874.  Pupil 
of  Signol.  At  the  Paris  Salon  of  1876  he  exhibited  the  “ Fir>t 
Step’"  and  a portrait;  in  1875,  “Meditation-”  ; in  1874,  “Lucia  di 
Lammermoor.”  At  the  Corcoran  Art  Gallery,  AYashiiigton,  is  his 
“ Talking  Well.”  The  catalogue  says  : — 

“ This  charming  picture  is  by  one  of  the  leading  figure-painters  of  France.  The 
maiden  is  a model  of  rustic  grace,  and  the  coloring  throughout  is  hanuonious.  Its  sen- 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  315 


timent  is  delicately  expressed.  The  ‘talk’  may  come  from  the  well,  but  it  i.s  evident, 
from  the  arch  glance  and  smile  of  the  maiden,  that  she  suspects  the  whisper  to  be  some- 
what human.” 

Vera,  Alejo.  (Spanish.)  Medal  at  Philadelphia,  wliere  he  exhib- 
ited “The  Burial  of  San  Lorenzo  at  Rome.”  Vera  is  one  of  the 
artists  who  have  made  the  art  of  Spain  known  with  favor  in  present 
times,  and  in  the  report  upon  the  Fine  Arts  of  the  Philadelphia 
Exposition  this  picture  is  especially  commended. 

Verboeckhoven,  Eugene  Joseph.  (Belgian).  Born  at  Warne- 
ton  (1799).  Chevalier  of  the  Legion  of  Honor,  of  the  Orders  of 
Leopold  of  Belgium  and  Michael  of  Bavaria  and  Christ  of  Portugal, 
and  decorated  with  the  Iron  Cross.  Member  of  the  Academies  of 
Belgium,  Antwerp,  and  St.  Petersburg.  This  artist  devoted  himself  to 
the  painting  of  animals,  and  his  works  are  so  well  known  in  America 
as  well  as  Europe  that  they  need  no  description  or  praise.  They  are 
in  many  private  galleries.  At  the  Johnston  sale.  New  York,  1876, 
“ Flemish  Landscape  and  Cattle”  (23  by  28)  sold  for  $ 875.  At  the 
Latham  sale.  New  York,  1878,  “ A Frightened  Bull  ” was  purchased 
by  J.  J.  Astor  for  1 1,500,  and  “ Sheep  and  Twin  Lambs,  Scotch 
Highlands”  (44  by  34)  for  $ 3,400.  This  artist  has  made  some  por- 
traits worthy  of  mention,  and  has  also  essayed  sculpture.  His  statue 
of  “ Meditation  ” was  far  above  most  first  attempts,  and  possessed  a 
good  degree  of  merit.  A fine  picture  of  “ Sheep,  — Interior  ” is  in  the 
collection  of  Mrs.  H.  E.  Maynard  of  Boston.  To  the  Paris  Exposi- 
tion in  1878  he  contributed  seven  characteristic  works. 

Verboeckhoven,  Charles-Louis.  {Belgian.)  Born  at  Warneton, 
1802.  Medals  at  Brussels.  Brother  and  pupil  of  Eugene.  This 
painter  at  first  essaj'ed  animal  subjects,  but  soon  gave  them  up  for 
marines,  in  which  he  has  a reputable  name. 

Verhas,  Jan.  (Belgian.)  Born  at  Termonde.  Medal  at  Philadel- 
phia, where  he  exhibited  a “ Seashore  at  Blankenberghe.”  In  Paris, 
in  1877,  were  “ The  Inundation  ” and  “ The  Studio  ” ; in  1878,  “ The 
Master  Painter  ” and  “ The  Bouquet  of  Marguerites.” 

Verheyden,  Isidor.  (Belgian.)  Of  Brussels.  Medal  at  Philadel- 
phia, where  he  exhibited  “ A Landscape.” 

Verlat,  Charles.  (Belgian)  Born  at  Antwerp,  1824.  Professor 
at  the  Antwerp  Academy.  Chevalier  of  the  Legion  of  Honor.  Pupil 
of  the  Antwerp  Academy  and  of  Nicaise  de  Keyser.  He  has  painted 
a great  variety  of  subjects,  hut  his  animal  pictures  are  the  best.  His 
“ Storming  of  J erusalem  ” is  in  the  Mu.seum  at  Brussels.  Some  of 
his  pictures  have  a comic  vein,  such  as  “ Might  is  Right,”  in  which  a 
big  monkey  takes  a nut  from  the  jaws  of  a little  monkey.  Some  of  his 
portraits  are  good  ; among  them,  those  of  Frederick  Preller  and  the 
Grand  Duchess  of  Saxe-Weimar.  At  Paris,  in  1869,  he  exhibited  “ A 
Dog  at  Bay”  ; in  1868,  “A  Holy  Family  ” and  “A  Day  of  Mourn- 
ing ” ; in  1866,  “ A Rabbit-Hunt.”  Among  his  works  are,  “ The 


316  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Wolf-Hunt,”  “Mourning  over  the  Body  of  Christ,”  “Madonna  with 
Christ  and  John,”  “Shepherd  Girl  with  her  Flock,”  “ Dogs  waiting 
for  the  Start,”  “ The  First  Snow',”  “ Quarreling  over  the  Booty,” 
“ Buffaloes  attacked  by  a Tiger,”  “ Eenard  in  Hope,”  and  “ Renard 
Deceived.”  Verlat  has  also  executed  some  admirable  etchings  ; his 
versatility  and  his  certainty  and  celerity  of  touch  are  remarkable. 

“As  a painter  of  sheep  and  shepherd-dogs,  Verlat  is  altogether  without  a superior, 
even  in  Belgium,  where  Verboeckhoven  has  eDjo3'ed  a great  reimtation  for  many  years.** 
"William  B.  Scott,  Gems  of  Modem  Belgian  Art. 

Vernet,  Emile-Jean-Horace.  {Fr.)  Bom  in  the  Louvre  (1789- 
186.3).  Member  of  the  Institute,  1826.  Director  of  the  French 
Academy  at  Rome,  1828.  Grand  Officer  of  the  Legion  of  Honor.  At 
fifteen  years  of  age  this  artist  was  able  to  support  himself  by  the  sale 
of  his  drawings.  He  studied  with  Vincent,  and  sketched  from  the 
living  model.  At  his  father's  desire  he  contended  for  the  •prix  de 
Rome,  but  failed.  He  then  painted  his  first  military  subject,  “ The 
Taking  of  a Redoubt,”  and  afterwards  devoted  himself  to  that  class  of 
pictures.  At  twenty  years  of  age  he  was  married,  and  soon  began  to 
keep  an  account  of  receipts  and  expenditures,  by  means  of  which  may 
be  traced  the  gradual  increase  of  his  prices,  from  that  of  24  sous  for  a 
sketch  of  a tulip  up  to  50,000  francs  for  the  portrait  of  the  Empress 
of  Russia.  In  1814  Yemet,  with  his  father  and  Gericault,  fought  on 
the  Barriere  de  Clichy,  and  for  his  galLint  conduct  there  the  Em- 
peror gave  him,  wdth  his  ow'n  hand,  the  decoration  of  the  Legion  of 
Honor.  In  1812  he  had  received  commissions  from  the  King  of 
Westphalia,  and,  in  1813,  from  Maria  Louisa.  In  1817  his  “Battle 
of  Torlosa  ” was  much  praised.  This  w'as  the  beginning  of  his  tri- 
umphs ; the  picture  W'as  purchased  for  the  Maison  du  Roi  for  6,tX)0 
francs.  He  now  desired  to  secure  Royal  commissions,  but  his  political 
record  had  not  been  pleasing  to  the  Bourbons,  and  after  many  expe- 
riences, the  nature  of  which  we  have  not  space  to  relate,  he  became 
the  protege  of  the  Duke  of  Orleans.  In  1817  he  painted  a portrait 
of  the  Duke  for  which  he  received  3,000  francs  ; he  repeated  this  por- 
trait in  various  costumes  and  characters,  besides  making  other  pic- 
tures for  his  patrons.  Naturally  those  who  made  the  little  court  of 
Orleans  also  became  his  patrons,  and  at  this  period  he  executed  some 
fine  works.  At  the  Salon  of  1819  he  exhibited  sixteen  or  more  pic- 
tures ; it  was  the  year  w'hen  the  “ Medusa  ” of  Gericault  and  the 
“ Odalisque  ” of  Ingres  occupied  all  minds,  yet  Yemet  also  received 
much  attention  and  praise.  The  Duke  of  Berry,  in  his  role  of  patron 
of  the  Societe  des  Amis  des  Arts,  now  commanded  two  pictures  of 
Yemet ; he  painted  “ The  Dog  of  the  Regiment”  and  “The  Horse 
of  the  Trumpeter,”  for  the  tw'o  receiving  5,000  francs.  Meantime 
Yemet  made  numerous  sketches  for  lithographs,  which  were  scattered 
among  the  people,  the  spirit  of  w'hich  was  displeasing  to  the  King, 
and  it  seemed  wise  for  the  artist  to  leave  Paris.  In  1820  he  and 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  317 


his  father  went  to  Rome.  At  this  time  was  painted  the  famous 
“ Course  des  Barberi,”  or  the  dejrarture  of  the  horses  for  the  carni- 
val races.  It  was  sold  to  M.  de  Blacas  for  4,000  francs.  After  his 
return  to  Paris  he  painted  for  M.  Odiot  “ The  Defence  of  the  Barrier 
of  Clichy,”  which  is  hy  many  considered  his  best  work.  Odiot  paid 
him  4,000  francs  for  it,  and  gave  it  to  the  Chamber  of  Peers  ; it  is 
now  at  the  Louvre.  The  year  1822  may  be  said  to  end  the  first 
period  of  his  life  ; he  had  made  one  of  his  very  best  pictures,  but  he 
had  not  been  recognized  at  the  Salon  ; he  had  sent  there  the  above- 
mentioned  work,  also  the  “Battle  of  Jemmapes,”  painted  for  the 
Duke  of  Orleans,  and  a number  of  other  works.  They  were  refused, 
the  only  one  exhibited  being  one  that  had  been  ordered  by  the  gov- 
ernment, and  the  subject  chosen.  It  represented  his  grandfather, 
Joseph  Vernet,  lashing  bim.self  to  the  mast  of  a ship  during  a tempest. 
He  received  6,000  francs  for  it.  The  public  were  indignant  that  he 
should  have  been  excluded  on  account  of  the  political  sentiments  he 
held,  and  he  opened  at  his  studio  an  exhibition  of  forty-five  of  his 
j^ictures,  which  embraced  a great  variety  of  subjects.  Before  this 
time  he  had  relied  on  the  court  of  Orleans  ; but  after  this  exposition 
he  had  the  public  for  his  friend.  Money  came  now  in  plenty  ; the 
dealer  Schroth  bought  his  small  pictures,  giving  him  from  700  to 

2.000  francs  each.  The  Societe  des  Amis  des  Arts  paid  him  3,000 
francs  for  one,  and  a Russian  princess  demanded  some  portraits  of 
Napoleon  at  1,000  francs  each.  In  1824  he  received  51,850  francs. 
Among  the  works  of  that  year  was  the  equestrian  portrait  of  the  Duke 
of  Angoulenie,  for  which  he  was  paid  9,950  francs,  and  before  the 
year  "was  out,  Charles  X.  ordered  his  portrait  at  the  same  price.  The 
following  year  he  was  overwhelmed  with  orders  for  portraits,  but  he 
found  time  to  paint  the  “ Bridge  of  Arcole,”  for  which  he  received 

10.000  francs,  and  the  “ Battle  of  Valmy,”  for  the  Duke  of  Orleans, 
which  closed  the  series  of  four  battles  which  the  Duke  wished  for 
the  Palais- Royal ; — they  were  Jemmapes,  Hanau,  Montmirail,  and 
Valmy. 

In  1826  Horace  and  his  father  were  invited  to  Avignon  to  attend 
the  opening  of  a gallery  in  the  Museum,  devoted  to  the  Vernets,  who 
had  originated  in  that  city.  Carle  Vernet  sent  his  picture  of  the 
“Course' des  Barberi,”  and  Horace  sent  his  “ Mazeppa  pursued  by 
Wolves.”  At  Avignon  they  received  every  possible  attention  ; they 
were  conducted  to  the  home  of  their  ancestors  ; they  piously  saluted 
it,  and  inscribed  their  names  on  the  door-posts.  At  the  ceremony  of 
opening  the  gallery,  poems  were  read  in  their  praise,  and  they  were 
made  members  of  the  Athenaeum.  After  they  returned  to  Paris  they 
received  two  urns  of  sculptured  silver.  They  bore  the  two  designs  of 
the  pictures  which  the  father  and  son  had  sent  to  Avignon  ; they 
were  the  work  of  a jeweler  in  that  city,  who  refused  to  be  paid  for  his 
labor  on  them  ; they  were  presented  to  the  artists  by  the  city  of 


318  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Avignon.  The  Gallery  Vemet  is  still  a sacred  place  in  the  old  city  of 
the  Popes.  There  are  works  of  Antoine,  Frangois,  Joseph,  Carle,  and 
Horace  Vemet.  The  first  canvas  of  the  “ Mazeppa”  was  injured  by 
a saber-stroke  in  the  tumultuous  studio  of  Vernet ; he  made  a second 
picture,  and  both  are  at  Avignon  ; beneath  them  are  the  busts  of 
Joseph  Vernet  by  Brian,  and  that  of  Horace  by  Thorwaldsen.  After 
his  election  to  the  Institute  in  1826  Vernet  changed  the  style  of  his 
subjects.  For  the  “Julius  II.,”  a ceiling  in  the  Museum  of  Charles 
X.,  he  received  17,910  francs  ; for  “Philip  Augustus  before  Bouvines,” 
now  at  Versailles,  24,775  francs;  for  the  “Battle  of  Fontenoy,” 
30,000  francs.  In  1828,  when  appointed  to  the  French  Academy  at 
Rome,  he  established  Salons  every  Thursday  ; they  were  ver}^  gay,  — 
they  were  attended  by  artists,  travelers,  and  men  of  distinction,  who 
danced  and  amused  themselves  as  if  the  world  of  Paris  had  sprang 
up  in  Rome.  Vernet  now  added  new  subjects  to  his  list  ; he  painted 
Roman  women,  brigands,  etc.,  and  the  year  1831  marks  the  end  of 
his  second  period.  In  serious  work  he  had  not  advanced.  The  “Ar- 
rest of  the  Princes  ” was  the  best  picture  sent  from  Rome,  but  it  was 
not  equal  to  the  “ Clichy  ” of  ten  years  before.  After  the  revolution 
of  1830,  it  was  a trial  to  Vernet  to  wear  his  honors  at  the  Villa 
Medici.  The  French  army  was  making  more  subjects  for  pictures 
than  ever  before  since  the  campaign  in  Egypt,  and  Vernet  could  not 
follow  it.  In  1833  he  was  relieved,  and  soon  went  to  Algiers.  At 
the  time  of  his  arrival  military  operations  were  suspended,  but  he 
occupied  himself  continually  in  sketching.  He  painted  also  the 
“Rebecca,”  for  which  the  Duke  of  Rohan  paid  1,000  crowns,  and 
“ Arabs  conversing  under  a Fig-Tree.”  for  Lord  Pembroke,  and  dupli- 
cated it  for  Gourieff,  receivdng  16,000  francs  for  the  two.  In  1833 
the  King  ordered  the  palace  at  Versailles  to  be  used  for  an  historical 
museum.  From  this  time  the  two  thoughts  of  Horace  Vernet  were 
the  East  and  the  iluseum  at  Versailles.  The  few  works  that  he  exe- 
cuted, not  connected  with  these  two  objects,  are  comparatively  unim- 
portant. Louis  Philippe,  who  had  ordered  from  him  the  four  battle- 
scenes  already  mentioned,  now  required  of  him  Friedland,  Jena,  and 
Wagram.  There  was  no  room  large  enough  to  hold  his  immense  can- 
vases, and  on  that  account  one  floor  w:us  removed,  throwing  two 
Aages  into  one,  and  thus  the  grand  Gallery  of  Battles  was  made. 
Bouvines  and  Fontenoy  were  added  to  the  above-named  works.  At 
length  the  King  wished  the  artist  to  paint  the  Siege  of  Valenciennes. 
It  is  related  that  on  that  occasion  Louis  XIV.  with  Mine,  de  iMain- 
tenon  remained  in  a mill,  where  they  could  safely  watch  the  combat ; 
the  King  wished  this  to  be  represented.  Vernet  refused  to  so  paint  it, 
and  left  Paris  for  St.  Petersburg.  He  was  received  with  open  arms, 
flattered,  feted,  and  caressed.  After  a time  the  Czar  desired  him  to 
paint  the  “Taking  of  "Warsaw”;  instead  of  refusing,  Vernet  replied, 
“ Why  not  ? Does  a Christian  artist  hesitate  to  paint  the  passion  of 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  319 


Christ  ? ” If  the  Czar  had  ever  seen  the  picture  which  Vernet  made, 
he  would  have  been  amazed  at  his  audacity.  Under  a gloomy  sky, 
in  the  midst  of  smoke,  he  painted  a soldier,  dressed  in  a white  tunic 
with  purple  facings,  fallen  and  fearfully  wounded  in  the- head  ; upon 
his  breast  rested  an  eagle,  decorated  with  the  cordon  noir,  pressing 
hard  upon  the  prostrate  wretch  with  his  frightful  talons.  Vernet  was 
never  willing  to  part  with  this  picture,  but  guarded  it  as  one  cherishes 
the  memory  of  a virtuous  act. 

He  returned  suddenly  to  Paris  in  order  to  see  his  father,  who  longed 
for  him,  and  died  a few  months  later.  Vernet  had  no  trouble  in  re- 
entering Versailles;  he  was  as  necessary  there  as  he  could  wish  to  be; 
no  one  had  been  found  who  could  satisfactorily  fill  his  place.  News 
came  of  the  taking  of  Constantine,  and  Vernet  was  officially  dispatched 
to  take  sketches  on  the  spot  for  his  three  great  paintings  for  the  Salon 
of  Constantine.  When  these  were  completed,  they  were  surrounded 
by  other  works  of  his,  until  that  Salon  became  a wonderful  monument 
to  his  facility  of  design  and  execution.  In  1839  Vernet  went  to 
Egypt,  Syria,  and  Turkey.  In  1842  he  went  again  to  Russia,  where 
he  made  a long  journey  with  the  Czar,  and  others  of  high  position. 
He  was  a great  favorite  with  the  Emperor,  who  liked  him  all  the  more 
that  he  did  not  always  agree  with  His  Majesty.  On  returning  to  St. 
Petersburg,  he  remained  for  some  time,  painted  his  portrait  of  the 
Empress,  received  many  valuable  presents,  etc.  After  his  return  to 
Paris  he  took  up  portrait-painting,  but  still  new  battles  were  fought, 
and  his  old  love  resumed  her  sway  over  him.  He  left  MarseiUes  for 
Aran  in  1845.  The  army  received  him  with  great  enthusiasm,  and 
showed  him  unprecedented  honors,  hailing  him  as  the  great  painter  of 
its  hardships,  bravery,  and  victories.  Upon  this,  and  all  the  occasions 
of  his  life  in  which  he  was  made  the  recipient  of  unusual  honors,  he 
conducted  himself  with  most  becoming  modesty,  and  in  this  way, 
perhaps  more  than  in  any  other,  he  manifested  the  sensible  common- 
sense  side  of  his  character.  The  revolution  of  1848  struck  Vernet  to 
the  heart ; he  still  worked  on,  but  his  best  and  happiest  days  were 
gone.  At  the  Exposition  of  1855  he  had  a Salon  entirely  devoted  to 
his  works,  and  it  was  a great  satisfaction  to  him  to  thus  show  to  men 
from  the  four  quarters  of  the  globe  upon  what  rested  his  claim  to 
fame.  He  lived  yet  eight  years  more.  He  worked  always;  the  Cri- 
mean war  opened  to  him  a new  field,  and  he  was  much  interested  in  it. 
He  painted  the  battle  of  Alma,  a portrait  of  Napoleon  III.,  and  other 
works,  but  he  wrote  of  himself  thus  : “When  time  has  worn  out  a 
portion  of  our  faculties,  we  are  not  entirely  destroyed,  but  it  is  neces- 
sary to  know  how  to  leave  the  first  rank,  and  content  one’s  self  with 
the  fourth.” 

“ How  can  one  judge  with  one  word  a career  so  long  and  full  ? At  an  age  when  so 
many  only  commence  to  feel  their  way,  he  was  already  a painter.  He  held  the  brush 
sixty  years.  Could  he  have  held  it  without  weaknesses  ? To  expect  it  would  not  be  loyal. 


320  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Is  it  necessary,  on  the  other  part,  to  place  the  prophetic  trumpet  at  the  lips  and  proclaim 
Horace  Vernet  tlie  national  painter  of  France?  Without  doubt  he  has  recorded  the 
history  of  France  in  pictures,  but  all  the  painters  at  V ersailles  have  done  the  same.  For 
us,  leaving  to  foreigners  the  ni.align  pleasure  of  judging  us  after  their  standards,  we  be- 
lieve that  we  recognize  in  the  French  nation  more  depth  and  more  height  than  Horace 
Vemet  has  known  how  to  give  it.  But  to  what  profit  these  useless  debates  ? We  have 
before  us  a man  of  incontestable  value,  an  artist  by  right  of  birth,  a skiUful  designer, 
who  has  cast  to  the  wind  of  publicity  more  than  two  hundred  lithographs  : a skillful 
painter,  wliose  pictures  can  be  numbered  to  five  hundred  ; an  amusing  story-teller  when 
he  takes  the  pen  ; a man  who  by  his  labors,  his  activity,  his  travels,  has  lived  the  meas- 
ure of  several  lives,  and  has  influenced  his  country  and  his  age.  Shall  we  attempt  to 
lessen  him  by  most  incomplete  criticisms,  or  aggrandize  him  without  moderation  by  un- 
reasonable eulogies  ? No  ! Let  us  bow  before  this  triumph  of  skill  and  genius,  and  with- 
out seeking  outside  his  family  for  comparisons,  let  us  salute  him  as  the  last  and  greatest 
of  the  Vernets.”  — L^on  Lagrange,  Gazette  des  Beaux-Aiis,  November,  1863. 

“ Vernet  is  the  most  direct  offspring  of  the  common  taste  and  mind  of  France.  He  is 
the  artist  of  the  multitude.  All  is  revealed  at  one  look.  His  hand  and  eye  are  quick, 
memory  retentive,  and  manner  dashing,  materialistic,  and  sensational.  The  love  of  ex- 
citement and  adventure,  a free  camp-life,  and  brave  deeds,  are  his  special  attractions. 
He  tells  his  story  rapidly  and  off-hand,  freely  emphasizing  for  effect,  but,  in  the  main, 
truth-telling.  It  is  done  by  action,  for  he  has  no  sentiment  for  color,  and  no  higher  in- 
tellectual aim  than  declamation.  Vernet  is  a clever  but  not  great  artist.  He  rejects 
academic  trammels,  aud  makes  himself  a spirited  reporter  of  history  in  its  external  look, 
the  French  soldier  being  his  ideal  man.  In  fine,  he  seems  to  be  a sort -of  ‘our  own  cor- 
respondent ’ of  tlie  brush,  after  the  stamp  of  the  Times’  Bussell,  very  acceptable  to 
those  who  care  only  for  a lively-told  stoiy.”  — Jarves,  Art  Thoughts,  1869. 

Vernon,  Thomas.  (L’rii.)  (1824-1871.)  Studied  art  in  Paris 
for  some  years.  Well  and  favorably  known  in  England  as  a line- 
engraver.  Among  bis  works  are,  “ The  Virgin  Mother,”  after  Dyce  ; 
“ Abundance,”  after  Van  Eycken  ; “ Olivia,”  after  C.  E.  Leslie  ; “ The 
Novice,”  after  A.  Elmore ; Eaphael’s  “ Mother  and  Child,”  Cope’s 
“ First-Born,”  and  Murillo’s  “ Christ  healing  the  Sick.” 

Veron,  Alexandre  Rend  (Fr.)  Born  at  Monthazon.  Pupil 
of  M.  Delaroche.  At  Philadelphia  he  e.xhibited  “ The  Banks  of  the 
Seine,”  “ Entrance  to  the  Harbor  of  Boulogne, — a Storm,”  and  a “ Park 
at  Senlis,”  and  received  a medal.  At  the  Salon  of  1878  he  exhibited 
“ After  the  Rain  ” and  “ A Fine  Winter  Day,”  both  tdews  at  Ar- 
genteuil  (Seine  et  Oise)  ; and,  in  1877,  “ The  Park  at  Mont-l’Ev^ue” 
and  “ Evening  in  the  same  Park.” 

Vertunni,  AchUle.  {Ital.)  Born  at  Naples.  Pupil  of  Fergola. 
A painter  of  landscapes.  Medal  at  Philadelphia.  Some  of  his  views 
in  Egypt  are  remarkable  for  their  truthful  rendering  of  the  character- 
istic lighting  of  that  country,  and  the  grandeur  and  impressiveness  of 
its  ruins  are  told  in  the  pictures  of  \ ertunni  as  few  artists  have  at- 
tempted to  portray  them.  Our  idea  of  Eastern  pictures  is  too  much 
associated  with  scenes  in  harems,  mosques,  etc.,  which  are,  strictly 
speaking,  costume  pictures,  and  give  no  idea  of  the  great  and  grand 
wonders  of  that  old  world.  ^ ertumri  had  shown  his  power  in  kin- 
dred subjects,  in  his  fine  representations  of  the  Roman  Campagna, 
before  he  saw  the  East,  and  he  has  well  fulfiUed  the  hopes  which  his 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  321 


admirers  indulged  regarding  the  manner  in  which  he  would  inter- 
pret other  scenery  than  that  of  Italy.  At  the  Paris  Salon  of  1876 
he  exhibited  “At  Naples”  and  “A  Pool,  Eoman  Campagna.”  The 
works  of  Vertunni  are  sometimes  seen  in  England,  more  rarely  in 
America.  His  means  are  such  that  he  has  been  able  to  surround 
himself  with  everything  that  artists  love,  and  a visit  to  his 
studio,  where  salon  after  salon  is  filled  with  artistic  treasures  of 
past  centuries,  is  one  of  the  choicest  pleasures  a visitor  to  Rome  can 
enjoy.  But  amid  this  little  world  of  rich  old  tapestries,  rugs,  bronzes, 
statues,  armor,  porcelains,  and  flowers,  amid  all  this  deep-toned 
coloring  and  artistic  richness,  the  pictures  of  the  artist  cannot  be 
overlooked,  though  modestly  placed,  as  if  but  a part  of  the  elegant 
i'urnishing  of  the  rooms.  The  eye  may  wander  from  them  for  a 
time,  but  it  will  return,  and  in  the  future  these  pictures  are  the  dis- 
tinctive feature  in  one’s  remembrance  of  that  wonderful  Roman 
studio.  At  Philadelphia  his  pictures  were  the  “ Ruins  of  Psestum  ” 
and  “ The  Pyramids  of  Egypt.”  To  Paris,  in  1878,  he  sent  the  last 
work,  and  three  other  Eastern  and  Italian  scenes.  Two  of  Vertunni’s 
pictures  belong  to  Mrs.  J.  H.  Weeks  of  Boston.  “At  the  Dudley 
Gallery,”  says  the  London  Illustrated  News,  “ are  now  exhibited  some 
landscapes  by  Cavaliere  Vertunni,  a celebrated  Neapolitan  artist, 
usually  resident  in  Rome.  These  works,  like  many  others  recently 
produced  in  Italy,  afford  very  gratifying  evidence  of  the  rapid  advance 
lately  made  by  the  modern  Italian  school.” 

“ The  landscapes  of  Vertunni  are  remarkable  for  almost  exuberant  power,  for  almost 
excessive  daring  in  the  application  of  the  pigments,  and  for  entire  freedom  from  the  con- 
ventionalities of  ‘ classical,’  as  opposed  to  naturalistic,  representation.  They  comprise 
five  large  and  noble  views,  widely  differing  in  subject  and  effect,  and  a smaller  study 
for  a picture  ; the  whole  taken,  with  one  exception,  from  the  neighborhood  of  Rome  or 
in  Central  Italy.”  — Art  Journal,  August  13,  1870. 

Verveer,  Samuel  Leonidas.  {Dutch)  Born  at  The  Hague 
(1813-  1876).  Chevalier  of  the  Order  of  Leopold,  and  of  the  Crown 
of  Oak  of  Luxembourg.  Member  of  the  Art  Societies  of  Brussels 
and  Ghent.  Medal  at  Philadelphia.  This  artist  represented  views  of 
cities,  such  as  Amsterdam,  Rotterdam,  Bruges,  Dordrecht,  etc.  He 
also  painted  some  genre  subjects,  such  as  “ Salmon-Fishers,”  “ Depart- 
ure for  the  Market,”  etc.  At  Philadelphia  he  exhibited  “ The  Vil- 
lage of  Scheveningen.” 

Vetter,  Jean  H^gdsippe.  (Fr.)  Born  at  Paris,  about  1816.  Chev- 
alier of  the  Legion  of  Honor.  Pupil  of  Steuben.  Made  his  debut  at 
the  Salon  of  1842  with  a portrait,  but  his  subjects  are  those  of  anec- 
dote, such  as  “ Mascarilla  presenting  Jodelet  to  Cathos  and  Madelon” 
(1865) ; “ Bernard  Palissy  ” (1861),  a work  which  made  a great  success, 
and  was  sold  for  25,000  francs  ; “ The  Quarter  of  an  Hour  of  Rabelais  ” 
(1855)  ; “ Moliere  and  Louis  XIV.,”  at  the  Luxembourg  ; “ The  Ex- 
q^uisite,  — Time  of  Louis  XIIL”  (1875)  ; “The  Flight  into  Egypt” 
18*  u 


322  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


(1874)  ; “ Mazarin  ” (1872),  purchased  by  the  Ministry  of  the  Beaux- 
Arts  ; etc.  In  1878  he  exhibited  a portrait  and  “ The  Letter.” 

Veyrassat,  Jules  Jacques.  {Fr.)  Bom  at  Paris.  Medal  for 
etching  in  1866  and  ’69,  and  for  painting  in  1872.  The  father  of 
Veyrassat  M’as  a jeweler,  and  wished  his  son  to  follow  the  same  occu- 
pation ; he  placed  the  boy  at  the  Drawing  School  in  the  Hue  PEcole 
de  Medecine,  which  was  intended  to  fit  young  'men  for  trades  which 
liave  some  connection  with  art.  The  young  artist  was  very  happy 
there,  and  drew  and  modeled  arduously.  His  success  in  this  school 
determined  him  to  make  art  a profession.  His  father  sought  the 
advice  of  Decamps,  who  said  that  obstacles  should  be  throuTi  in  the 
way  of  the  son,  thinking  that  if  he  indeed  had  a vocation  for  art,  he 
would  overcome  all  difficulties,  and  if  not  he  had  best  be  discouraged. 
After  the  revolution  of  1848  the  father  w’as  too  poor  to  aid  the  son  in 
anj'  case.  Veyrassat  then  commenced  making  copies  of  works  in  the 
Louvre,  and  also  some  etchings  for  publishers.  In  this  way  he  sup- 
plied his  necessities,  and  as  soon  as  he  could  afford  it  moved  to  £couen, 
where  he  became  the  friend  of  Edouard  Frere.  Veyrassat  paints  pic- 
tures of  country-life  pure  and  simple.  In  1877  he  exhibited  the 
“ Passe-cheval  ” (a  small  boat  for  taking  horses  over  a stream,  etc.) 
and  the  “Stone  Quarry”  (Fontainebleau);  in  1876,  “The  Little 
Bridge  at  Samois  ” and  “ A Belay  of  Horses  for  Tow-Boats  ” ; in  1875, 
“ The  Watering-Place,”  “ The  Well,”  and  “ Stone  Carts  ” (Fontaine- 
bleau), etc.  His  subjects  are  often  repeated.  VejTassat  lives  at  Samois 
on  the  Seine,  near  the  Forest  of  Fontainebleau,  a place  well  suited  to 
his  studies.  This  artist  also  paints  in  water-colors  ; “ The  Luncheon 
of  the  Harvesters”  (1877)  is  a good  specimen  of  his  art  in  this  direc- 
tion. A picture  by  Veyrassat,  “ Barge  Horses,”  is  in  the  collection  of 
Mrs.  H.  E.  Majmard  of  Boston.  To  the  Salon  of  1878  he  sent  “ The 
Fair  of  St.  Catherine  at  Fontainebleau  ” and  “A  Belay  for  Horses  of 
Tow-Boats.” 

Vibert,  Jehan  Georges.  (Fr.)  Bom  at  Paris,  1 840.  Chevalier  of 
the  Legion  of  Honor,  1870.  Pupil  of  I’licole  des  Beaux- Arts,  and  of 
Barrias.  Made  his  debut  at  the  Salon  of  1863,  seven  years  only  be- 
fore his  decoration.  During  the  siege  of  Paris  he  belonged  to  the 
Sharp-Shooters,  and  was  wounded  at  the  combat  of  IMalmaison,  Octo- 
ber, 1870.  At  the  Salon  of  1877  he  exhibited  “ The  Xew  Clerk  ” 
(purchased  by  Mr.  Butler  of  New'  York)  and  “ The  Serenade,”  also 
four  w'ater-color  sketches  ; in  1876,  a portrait  and  “ The  Antechamber 
of  Milord”;  in  1875,  “The  Grasshopper  and  the  Ant”  and  “The 
Bepose  of  the  Painter  ” ; in  1874,  “ The  Beprimand  ” (belonging  to 
Miss  Wolfe),  “A  Jlonk  gathering  Badishes,”  and  a portrait;  in 
1873,  “ The  Departure  of  the  Bridegrooms  ” (Spain)  and  “ The  First- 
Born  ” (belonging  to  Mr.  Stebbins)  ; in  1870,  “ Gulliver  fastened  to 
the  Ground  and  surrounded  by  the  Array  ” and  “ The  Importunate  ” ; 
etc.  At  the  Johnston  sale,  the  “ Servant  Beading  ” (water-color,  8 by 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  323 


11)  sold  for  $ 330  ; “ The  Knife-Grinder  ” (pen  and  ink,  7 by  5),  for 
$200;  and  “The  Offer  of  the  Umbrella”  (water-color,  18  by  13), 
$ 1,000.  Besides  his  exhibits  at  the  Salons,  Vibert  has  painted  more 
than  one  hundred  easel-pictures.  He  has  also  executed  an  “ Assump- 
tion of  the  Virgin”  for  the  chapel  of  Saint-Denis  in  the  church  of 
Saint-Bernard.  As  an  author  he  has  produced  a vaudeville,  the  “ Tri- 
bune mecanique,”  two  comic  scenes  for  acting,  called  the  “ Chapeaux  ” 
and  the  “ Portraits  ” ; also  a comedy,  the  “Verglas.”  At  a sale  in 
Brussels,  1874,  “ Gulliver  in  Liliput  ” sold  for  £ 800.  At  the  Latham 
sale.  New  York,  1878,  “ A Committee  on  Moral  Books  ” sold  for  $ 4,100. 
It  is  19  by  26  inches  in  size.  At  the  Salon  of  1878  he  exhibited 
“ The  Apotheosis  of  Thiers.”  This  is  fully  described  in  the  following 
letter  written  from  Paris,  October,  1877,  by  Miss  Brewster  of  Eome  : — 

“ One  of  the  most  original  artists  that  Le  Roux  introduced  me  to  is  Vibert ; he  is 
truly  an  original  man  in  every  way.  He  is  middle-sized,  stout  for  his  age,  — for  he  seems 
only  thirty-five,  — has  a full,  merry,  happy,  but  very  shrew’d,  sensible  face;  he  loves 
work,  and  is,  as  are  all  these  men,  an  indefatigable,  untiring  worker,  but  he  loves  also 
to  take  his  itlay-hours.  In  the  evening  he  goes  to  the  theater,  and  among  his  friends  and 
himself  removes  his  thoughts  from  his  work  and  his  studio. 

“ And  what  a worker  he  is,  not  only  in  his  studio,  but  all  over  his  house  I From  the 
moment  you  enter  the  grriZ^c  of  his  handsome  residence  in  Rue  dc  Boulogne,  up  to  the 
studio,  you  see  you  are  in  an  artist’s  house.  There  are  fine  Japanese  majolica  mon- 
sters on  the  portico  ; marble  shells  full  of  flowers  ; tlie  walls  of  the  entrance-way  are 
Pompeian ; the  walls  of  the  staircase  are  covered  with  India-straw  matting,  and  the 
outside  of  the  stair-balustrade  has  a deep  fringe  of  rattan  ; India  plates  of  brass  and 
India  i)anelings  are  on  the  landing-places.  His  bedroom  is  Japanese,  and  he  has 
painted  the  ceiling  to  imitate  a great  plaque  of  crackled  porcelain  ; it  is  deliciously 
done.  He  has  inclosed  all  his  garden  and  made  a sort  of  Japanese  court  and  salon  ; 
there  are  skylights  and  gay  friezes,  and  part  of  the  ceiling  he  has  decorated  most  skill- 
fully with  curious,  grotesque,  and  gay-colored  Japanese  dragons  and  gilt  diaperings. 
At  the  end  of  the  court  is  to  be  a fountain  of  his  own  designing.  I saw  the  photographs 
of  it.  There  is  a red  marble  basin,  and  on  the  top  of  the  wdiole  is  a bronze  bust  of  La 
Fontaine,  the  French  fabulist.  On  the  fountain  front  are  bas-reliefs  fj’oni  some  of  the 
fables.  One  is  of  the  stork’s  feast  to  the  w'olf,  and  at  the  side  of  the  fountain  ’s  the 
device  Vibert  has  adopted  from  one  of  La  Fontaine’s  fables,  ‘ Travaillez,  prenez  de  la 
peine.’ 

“ Vibert's  pictures  are  remarkable,  as  you  know,  for  delicacy  of  touch  and  nice  feeling 
for  color.  He,  as  all  the  other  Parisian  artists,  studies  nature  constantly.  He  builds 
up  his  pictures,  and  copies  accurately.  His  poetic  imagination  supplies  the  ideal.  His 
studio  is  arranged  for  different  compositions  of  pictures.  On  one  side  are  two  fine 
columns  wuth  gilt  capitals,  and  draperies  lianging  between.  On  another  side  is  a balus- 
trade. There  are  all  manner  of  accessories  about. 

“ I have  left  to  the  last  the  description  of  the  picture  Vibert  is  painting  for  the  com- 
ing Salon  ; it  is  already  celebrated,  although  only  a study  as  yet  of  the  immense  work  it 
wull  be  W’hen  completed.  All  Paris  that  is  interested  in  art  is  talking  of  this  picture, 
not  only  on  account  of  its  great  cleverness  but  also  because  of  its  curious  history.  The 
subject  is  now  called  the  ‘ Apotheosis  of  Thiers.’  When  Vibert  designed  the  picture  he 
asked  Detaille  to  help  him  paint  it.  The  two  men  worked  on  it  most  faithfully;  when  it  ar- 
rived at  a certain  point  Detaille  requested  his  master,  Meissonier,  to  see  it.  Meissonier 
refused,  and  showed  such  displeasure  that  Detaille  was  obliged  to  give  up  all  work  upon 
ft,  as  his  master  selfishly  wished  to  keep  the  subject  for  himself.  Vibert  luckily,  how- 
ever, has  no  such  feelings  of  delicacy  toward  Meissonier,  and  has  resolved  to  finish  the 
stupendous  work  alone  and  unaided. 


324  ARTISTS  OF  THE  NINETEENTH  CENTCRY- 


“It  is  hardly  an  ‘apotheosis,’  for  the  ideas  and  works  of  Thiers,  rather  than  his 
person,  are  deitled  in  this  noble  design  of  Viberfs.  I think  I never  felt  so  deeply  before 
how  difficult  it  is  to  explain  or  describe  in  words  a picture  ; it  is  always  a thankless 
task,  but  in  the  present  case  the  subject  is  so  coiuidex  that  language  can  do  it  no  justice. 
There  are  an  infinite  number  of  details  in  the  picture  ; but  the  principal  personage  is 
expressed  in  a forcible,  striking  manner.  The  dead  body  of  the  great  French  debater, 
historian,  and  statesman  lies  on  a bier,  decorated  with  the  grand  cross  of  the  Legion  of 
Honor.  Although  the  body  and  face  have  the  cadaverous  rigidity  of  death,  there  is 
likewise  a noble  expression,  an  elevated  character  given  to  this  form  of  death  that  seems 
to  make  it  grander  and  more  dignified  than  in  life;  and  in  the  center  of  the  immense 
composition,  so  original  in  its  conception,  this  figure  first  arrests  the  attention  ; this  is 
the  great  difficulty  of  such  a i)icture,  and  it  has  been  overcome  in  a masterly  manner. 
At  tiie  foot  of  the  bier  stands  France,  a beautiful,  noble  woman,  weeping,  draped  in 
black  crape  ; she  is  laying  gently  the  tricolored  flag  over  the  bier,  and  its  folds  are  en- 
veloping the.  body  of  the  dead.  At  the  head  of  the  bier,  to  the  right,  almost  in  the  center 
of  the  picture,  is  Glory,  tall  and  beautiful,  with  a transparent  Greek  tunic  ; she  has  just 
alighted  ; the  feet  hardly  touch  the  ground  ; her  wings  (golden)  are  unfolded,  and  with 
a noble  movement  she  points  to  the  heavens,  where  j'on  see  displayed,  as  in  cloud- 
visions,  the  works  and  ideas  of  the  dead  great  man  ; in  one  of  her  hands  is  .an  oak 
branch,  the  civic  recompense  she,  offers  to  the  citizen  of  citizens,  — he  who  triumphed  so 
nobly  over  the  horrors  of  the  Commune  and  redeemed  France. 

" The  Commune  is  represented  by  a sort  of  hybrid  being  that  lies  in  the  right  comer  of 
the  picture  on  the  ground  in  a death  agony ; the  red  flag  is  in  tatters  beneath  this 
creature,  and  in  its  hand  is  a burning  torch.  This  torch  rests  against  the  shield  of 
Paris,  which  is  half  charred.  This  is  a most  curious  and  impressive  part  of  the  remark- 
able i)icture. 

“ At  the  foot  of  the  bier  are  heaped  up  laurels,  wreaths  and  crowns  and  garlands,  the 
memories  of  the  numberless  testimonies  of  sorrow  that  were  sent  by  all  classes  of  per- 
sons to  the  funeral  of  Thiers,  and  there  is  also  the  black  standard  of  Belfort,  dedicated 
to  him  who  was  able  to  save  this  city  for  France  after  the  terrible  Prussian-French  war. 
To  the  right  in  the  distance  is  represented  the  siege  of  Paris  : there  is  fighting  and  car- 
nage ; the  forts  are  defending  the  city.  Tliis  is  another  testimony  of  gratitude  to  the 
dead  statesman,  for  it  was  Thiers  who  fortified  the  city  in  1840,  when  he  was  minister 
under  Louis  Pliilippe.  By  these  fortifications,  it  will  be  remembered,  Paris  was  able  to 
hold  out  so  long,  to  the  great  astonishment  of  all  Europe,  when  the  formidable  Prussian 
army  invaded  the  city,  for  it  was  known  that  only  some  debris  of  regiments,  collected  in 
haste,  had  subdued  the  insurgents  among  the  people,  and  were  defending  the  place. 

“ To  the  left,  back  of  the  lovely  figure  of  mourning  France,  we  see  the  funeral  cort^e, 
soldiers,  deputations,  the  funeral  car  or  chariot,  the  immense  crowd,  the  whole  people  — 
a million  of  men  as  it  were  — entering  Pere  la  Chaise,  and  behind  this  vast  concourse  is 
the  great  silliouette  or  outline  of  the  city  of  Paris.  This  completes  the  various  ground- 
plans  of  the  picture. 

“ The  artist  then  desires  to  exiiress  M.  Thiers  in  the  three  great  phases  of  his  life,  — a 
life  th.at  was  singularly  complete  in  each  ph-ise,  — the  orator,  the  historian,  and  the 
statesman.  To  give  these  three  forms,  he  uses  most  happily  the  heavens  of  his  picture, 
and,  although  the  representations  are  multiplied,  all  is  so  well  ordered,  arranged  ■\vith 
such  clever  ingenuity,  that  nothing  is  confused  or  troubled.  Here,  again,  words  are  mis- 
erably we.ak.  Each  episode  of  the  dead  statesman’s  life  is  given  with  clearness  and 
diversity  in  the  moving  masses  of  clouds,  and  the  clouds  lose  none  of  their  lightness. 
The  varied  actions,  too,  produce  a happy  eSect  to  the  eye,  although  in  description  the 
melange  may  seem  incredible  and  impossible.  As  M.  Tliiers  first  made  himself  known 
.as  a speaker,  it  is  with  that  phase  the  cloud  phantasmagoria  begins.  To  the  left,  at  the 
very'  summit  of  the  clouds,  is  the  Chamber  of  Deputies,  with  its  tribune  that  was  so 
often  made  illustrious  by  the  speeches  of  Thiers  : 1S30  is  personified  by  the  Column  of 
July,  when  he  made  part  of  the  government.  Below  this  rolls  a mass  of  clouds  that 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  325 


sweep  across  the  canvas  ; these  contain  the  historian’s  phase,  the  works  he  wrote  on  the 
Revolution,  the  Consulate,  and  the  First  Empire. 

“ In  the  clouds  we  see  first  the  Rastiie,  and  tlie  people  destroying  it  in  their  fury.  Then 
advance  forward  the  soldiers  of  the  Republic  ; these  are  Jemapes,  Fleuris,  and  the  great 
wars  of  Italy.  To  these,  follows  mysterious  Egypt,  with  its  pyramids  ; the  banks  of  the 
Nile,  covered  with  triumphant  French  armies,  Kleber,  Desaix  ; here  is  the  center  of  the 
canvas,  and  the  heavens  are  briglitiy  illuminated ; this  giow  is  very  harmonious,  and 
unites  weil  with  the  warm  color  of  giory.  To  this  center  also  is  given  part  of  the  history 
of  Napoieon  at  the  summit  of  his  glory  and  power : it  is  the  brilliant  period  of  the  First 
Empire  ; but  the  heavens  gradually  lose  their  brilliancy,  as  it  to  typify  that  it  is  no  longer 
the  people  that  is  ruiing  ; there  are  battles  and  victories,  but  tlie  imperial  glory  becomes 
obscured  and  somber  ; Russia  is  represented  by  a routed  army  in  the  center  of  snow  and 
ice.  This  wonderful  historical  epic  is  given  witli  marvelous  clearness  and  genius  ; it 
traverses  the  canvas  from  ieft  to  right.  Then  at  the  right  extremity  the  acts  of  M.  Thiers 
are  resumed.  We  see  tlie  grounds  of  Longchamps,  where  Thiers,  as  President  of  the 
Republic,  held  the  grand  review  of  the  troops,  which  he  reorganized  when  it  was  thought 
that  France,  crushed,  humiliated,  despoiled,  could  never  rise  from  her  terrible  fall. 
When  I think  how  beautiful  is  this  truly  sublime  picture,  .and  how  inefficient  are  words 
to  give  an  idea  of  it,  my  attempt  seems  most  audacious.  Those  of  you  who  will  see  the 
picture  next  spring  may  forget  my  description,  but  those  of  you  who  cannot  have  that 
privilege  and  pleasure  may  accept  my  inteutions  indulgently,  and  probably  be  glad  to 
have  the  result  of  them.  ” 

Vinck,  Franz.  {Belgian.')  Of  Antwerp.  Medal  at  Philadelphia, 
where  he  exhibited  “ A Flemish  Burgher’s  Wife  in  the  Sixteenth 
Century  ” and  “ The  Confederates  in  the  Presence  of  Marguerite  of 
Parma.” 

Vinton,  Frederick  Porter.  (Am.)  Born  in  Bangor,  Me.,  1846. 
This  painter  was  brought  up  to  mercantile  pursuits,  but  turned  his 
attention  to  art,  and  when  seventeen  years  old  the  advice  and  influ- 
ence of  W.  M.  Hunt  helped  to  fix  his  decision  to  become  a painter. 
In  1875  Vinton  went  to  Paris  and  studied  seven  months  under  Bonnat. 
He  then  went  to  Munich,  and  remained  a year,  studying  under  Duve- 
neck  and  in  the  Academy  under  Professors  Wagner  and  Diez.  He 
returned  to  Paris,  and  was  one  of  the  early  pupils  in  the  school  of 
Jean  Paul  Laurens.  He  returned  to  America  in  the  autumn  of  1878, 
and  opened  a studio  in  Boston.  Before  going  to  Europe  Vinton  ex- 
hibited his  pictures  at  the  Boston  Art  Club.  “ Celestina,”  one  of  his 
early  works,  belongs  to  Mrs.  Dix  of  Poston.  At  the  Paris  Salon  of 
1878  Vinton  exhibited  the  “ Little  Gypsy  ” or  “ Italian  Girl,”  which 
was  recently  seen  at  Doll  and  Richards,  Boston.  To  the  Paris  Exhi- 
bition, 1878,  he  sent  “ A Head  of  a Neapolitan  Boy  ” and  the  “ Head 
of  an  Old  French  Peasant-Woman.”  The  former  was  sold  for  1,200 
francs.  Vinton  paints  portraits,  and  is  now  engaged  upon  one  of  Mr. 
T,  G.  Appleton. 

“ Mr.  Vinton’s  ‘ Celestina  ’ is  more  to  our  mind  than  either  Bouguereau  or  Duveneck. 
However,  Mr.  Vinton  stands  in  an  intermediate  place,  with  a picture  professing  neither 
the  actualness  of  Duveneck  nor  the  idealized  polish  of  Bouguereau,  hut  merely  the 
charming  reality  of  art  modifying  and  sweetening  its  subject,  — a young  Italian  girl 
playing  a mandolin,  and  clad  in  a faded  blue  kirtle,  drab  jacket,  and  a white  kerchief 
yellow  fringed.  Green,  gray,  brown,  and  red  are  darkly  interblended  in  the  background. 


326  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


and  the  figure  is  defined  by  some  hold  and  yet  subdued  spreading  of  lights  on  face,  hair, 
and  form.”  — The  Atlantic,  June,  1875. 

" Mr.  Frederick  V'inton’s  ‘ Italian  Girl,’  which  was  exhibited  in  the  Salon  and  received 
the  generous  j)raise3  of  his  brother  artists  in  Paris,  is  the  best  representative  of  his  work 
abroad,  and  affords  an  excellent  opportunity  for  renewing  otir  acquaintance  with  him. 
The  i)icture  made  a good  impression  in  Paris,  and  certainly  will  sustain  before  the  Bos- 
ton public  the  honor  which  is  conferred  upon  a painting  by  its  admission  to  the  Salon. 

. ...  In  Mr.  Vinton’s  picture  what  charms  most  is  the  ricliness  and  harmony  of  the 
coloring.  The  flesh  is  very  natural  It  looks  as  though  it  would  yield  to  the  pressure  of 
the  finger,  — there  is  nothing  hard  about  it.  To  say  that  he  has  given  the  subject  a new 
charm,  is  to  say  a great  deal,  when  we  remember  how  many  times  the  subject  has  been 
treated  and  by  what  artists.”  — J.  B.  Millet,  Boston  Advertiser,  November  12,  1S78. 

Viollet-le-Duc,  Etienne  Adolphe.  (Fr.)  Born  at  Paris  (181T- 
1878).  Three  medals  at  the  Salons.  Pupil  of  Leon-Fleury.  This 
landscape-painter  has  exhibited  at  the  Salons  since  1844.  Among  hi.s 
numerous  works  we  may  name  the  following:  in  1877,  “Cliff  and 
Beach  at  Iitretat  ” and  the  “ Plateau  of  Amont,  at  Etretat”  ; in  1876, 
“ The  Aqueduct  of  Buc,  in  the  Valley  of  Jouy  ” and  “ The  Calvary 
of  Yport  ” ; in  1875,  two  pictures,  the  “ Western  and  the  Eastern 
Entrances  to  the  Fernie  du  Mont,”  at  Etretat ; in  1874,  “ The  Environs 
of  Cannes ’’and  “The  Isles  of  Hyeres  ” ; in  1872,  “ The  Vallej’ of 
Jouy,  taken  from  the  Heights  of  Metz  ” ; in  1870,  “ The  Valley  of 
Jouy,  — Morning,”  one  of  his  best  works.  Two  of  his  landscapes  were 
sent  to  the  Salon  of  1878  after  his  death. 

Viry,  Paul.  (Fr.)  Born  at  Poce.  Pupil  of  Picot.  At  the  Paris 
Salon  of  1877  he  exhibited  “Music”  and  “A  Falconer”;  in  1876, 
“ The  Duo  ” ; and  in  1875,  “ The  Return  from  the  Hunt  ” and  “ The 
Aviary.”  At  the  Latham  sale.  New  York,  1878,  “Courtiers  of  Louis 
XIII.”  (32  by  40)  sold  for  $ 1,800. 

Vogel  von  Vogelstein,  Karl  Christian.  (Ger.)  Bom  at  Wil- 
denfels  (1788  - 1868).  Member  of  the  Academies  of  Vienna,  Munich, 
Berlin,  and  St.  Petersburg.  This  artist  studied  at  the  Academy  of 
Dresden,  and  went  to  Rome,  where  he  passed  seven  years.  In  1820 
he  was  called  to  Dresden  as  a Professor.  In  1842  he  returned  to 
Rome,  remaining  some  time.  Fie  executed  various  decorative  works, 
but  his  fame  rests  on  his  portraits.  That  of  Tieck  is  at  the  Berlin 
National  Gallery.  After  his  death  the  government  bought  lor  the 
Museum  of  Dresden  the  entire  collection  left  in  his  studio.  The 
Leipsic  Museum  has  two  of  his  portraits.  Among  other  honors  he 
received  letters  of  nobility. 

Voillemot,  Andr^-Charles.  (Fr.)  Born  at  Paris.  Chevalier 
of  the  Legion  of  Honor.  Pupil  of  Drolling.  Among  his  works  are, 
“Twilight, — a Decorative  Fantasy,”  “The  Woman  with  Roses,” 
“ Spring,”  and  “ Innocence  in  Danger.” 

Volk,  Leonard  W.  (Am.)  Born  at  Wellstown,  New  York,  1828. 
He  has  spent  his  professional  life  principally  in  Chicago.  He  was 
for  several  years  in  Italy  at  work  and  at  study,  but  under  no  particu- 
lar master.  In  1867  he  was  elected  Academician  of  the  Chicago 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  327 


Academy  of  Design,  and  has  been  for  eight  years  its  president.  He  is 
also  a member  of  the  Chicago  Academy  of  Sciences  and  of  other  Art 
associations  and  societies.  Among  his  more  important  works  are  the 
Douglas  Monument ; a bust  of  President  Lincoln,  from  life,  exhibited 
at  Paris  in  1867  ; life-sized  statues  of  Lincoln  and  Douglas,  in  the 
Illinois  State-House,  executed  from  life  studies  ; the  statuary  in  the 
Keep  Monument  in  Watertown,  N.  Y. ; the  Erie  County,  N.  Y., 
Soldiers’  Monument,  the  first  monument  of  this  kind  erected  in  this 
country  ; the  Soldiers’  Monuments,  with  statues,  at  Rock  Island 
and  Cook  County,  111.  ; etc. 

Volk,  Douglas.  (Am.)  Son  of  Leonard  Volk.  He  has  been  a 
resident  of  Paris  for  some  time,  where  he  was  a pupil  of  Gerome. 
He  has  also  studied  in  Rome.  To  the  Paris  Salon  in  1878  he  sent  a 
portrait  of  Mile.  T.  He  contributed  to  the  Centennial  Exhibition  at 
Philadelphia,  in  1876,  “Vanity”  and  “In  Brittany”;  to  the  Ex- 
hibition of  the  Society  of  American  Artists  in  New  York  in  1878, 
two  views  of  “ Domestic  Life  in  Normandy.” 

Vollon,  Antoine.  (Er.)  Born  at  Lyons,  1838.  Chevalier  of 
the  Legion  of  Honor,  1870.  Studied  at  the  Academy  of  Lyons.  He 
went  to  Paris  and  made  his  debut  at  the  Salon  of  1864.  So  great  was 
his  success  that  he  was  decorated  six  years  after  his  first  exhibition. 
His  subjects  are  mostly  kitchen  interiors,  sea-fish,  and  portraits.  In 
1876  he  exhibited  at  the  Salon,  “A  Woman  of  Pollet  at  Dieppe”  ; 
in  1875,  “ The  Pig”  and  “Armures  ” (at  the  Luxembourg) ; in  1874, 
“A  Bit  of  the  Market”;  in  1872,  “New  Year’s  Day”  and  “The 
Kettle”  ; in  1870,  “A  Corner  of  my  Studio”  and  “Sea-Fish”  (in 
the  Luxembourg) ; in  1869,  “ After  the  Ball  ” ; in  1868,  “Curiosities” 
(in  the  Luxembourg)  and  “ Portrait  of  a Fisherman.”  In  1871  he 
exhibited  at  the  Royal  Academy,  London,  “ Luncheon.”  At  the  Sa- 
lon of  1878  he  exhibited  “ The  Helmet  of  Henry  II.”  and  “A  Span- 
iard.” 

Among  the  new  names  which  the  public  has  learned  this  year,  I recommend  to  you 
especially  that  of  Vollon.  The  catalogue  does  not  tell  us  under  what  masters  he  has 
worked,  neither  from  what  studio  he  emerges,  armed  at  all  points.  If  spiritualism  was 
not  a pure  absurdity,  I should  believe  that  Chardin  had  come  back  at  niglit  to  give  les- 
sons to  this  young  man.  He  has  exhibited  two  pictures,  of  which  one  represents  the 
* Interior  of  a Kitchen/  the  other,  a monkey  surrounded  with  fruits  and  musical 
instruments.  The  two  subjects  are  treated  with  decision,  firmness,  and  a freedom  al- 
ready masterly.  The  tones  are  just  and  true.  This  young  man  is  truly  strong.  If  I 
saw  in  him  only  a hopeful  pupil,  I should  not  cry  out  to  him  the  name  of  Chardin.”  — 
Edmond  About,  Salon  de  1864. 

In  the  “ Gazette  des  Beaiix-Arts”  of  July,  1878,  Bo^er  Ballu  praises 
the  work  of  Vollon,  ^‘The  Helmet  of  Henry  IL,”  and  finally  says  : — 
“It  is  not  an  exact  imitation,  a faithful  copy,  made  at  the  expense  of  patience  by  a 
minute  and  skillful  brush  ; it  is,  so  to  speak,  a portrait  ; yes,  I am  right,  a portrait  of 
the  helmet  of  Henry  II.,  represented  with  the  physiognomy  of  an  object  of  ancient  art, 
and  that  charm  so  peculiar  to  the  taste  of  the  sixteenth  century.  In  truth,  the  amount 
of  real  talent  here  bestowed  is  not  to  be  appreciated,  and  I am  convinced  that  in  this 
still-life  Vollon  has  equaled  Chardin.” 


328  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Voltz,  Friedrich  Johann.  (Ger.)  Bom  at  Nordlingen,  1817. 
Member  of  the  Academies  of  Berlin  and  Munich.  Eoyal  Bavariiin 
Professor.  Medals  at  Berlin,  and  the  great  Wiirtemberg  Art  Medal. 
Studied  at  the  Academy  of  Munich.  In  1843  be  went  to  Italy, 
where  he  remained  two  years.  His  specialty  is  in  representing  idyllic 
animal  pictures.  He  has  been  influenced  in  his  maimer  and  color  by 
Schleich,  Piloty,  Spitzweg,  and  others  of  the  ^Munich  school.  He 
has  visited  most  of  the  art  cities  of  Europe,  and  is  au  fait  to  the 
progress  and  interests  of  the  art  world.  In  later  yearn  Voltz  has 
practiced  etching  and  lithographing.  At  the  National  Gallery,  Ber- 
lin, are  his  “Menagerie”  and  “Cows  Drinking.”  At  the  Leipsic 
Museum  there  is  a characteristic  picture  by  Voltz.  At  Berlin,  in 
1876,  he  exhibited  two  cattle  pictures  and  an  “ Idyl.”  At  the  Bos- 
ton Museum  there  is  now  a fine  picture  by  Voltz,  belonging  to  Mr. 
H.  P.  Kidder.  It  represents^a  group  of  cattle  coming  over  a bilk 
Mr.  T.  R.  Butler  of  New  York  has  in  his  collection  a “ Landscape 
with  Cattle,”  by  this  artist. 

Von  Severdonck,  J.  {Belgian.)  Born  about  1825.  A pupU  of 
Verboeckhoven,  with  whom  he  has  lived  in  Brussels,  for  many  year's. 
He  occupies  a studio  with  his  miister,  and  is  said  to  do  the  greater 
part  of  the  mechanical  work  of  Verboeckhoven’s  pictures.  Von 
Severdonck  himself  paints  small  landscapes  with  sheep,  and  some- 
times fowls  introduced  as  accessories  ; they  are  painted  with  great 
care  and  tenderness,  are  agreeable  in  color,  and  truthful  in  drawing 
and  action.  They  are  in  many  fine  collections  in  America.  He  has 
painted  but  few  large  works.  He  sent  “ A Cavalry  Charge  ” to  the 
Paris  Exposition  of  1878.  One  of  his  large  pictures,  a landscape  with 
animals,  belongs  to  Mr.  Charles  G.  Woods  of  Boston. 

Voss,  Maria.  (Dutch.)  Of  Oosterbeck.  liledal  at  Philadelphia, 
where  she  exhibited  “ Still-Life.”  Mr.  Weir  calls  her  picture  “ quite 
superior  to  anything  of  its  kind  in  the  E.xhibition.” 

Vriendt,  Julian  de.  (Belgian.)  Of  Antwerp.  At  the  Johnston 
sale  in  New  York,  1876,  “ The  Story  of  the  Battle  ” (21  by  26)  sold 
for  $ 1,800.  To  the  Paris  Exposition  of  1878  he  contributed  six  por- 
traits. 

Vriendt,  Albrecht  de.  (Belgian.)  Knight  of  the  Order  of  Leo- 
pold. iledals  at  London  and  Vienna.  A resident  of  Brussels.  At 
the  Municli  Exposition,  in  1870,  he  exhibited  “ Episodes  from  the 
Life  of  Charles  V.”  At  Berlin,  in  1876,  “ Charles  V.  in  the  Cloister  of 
St.  Just.”  To  the  Paris  Exposition  of  1878  he  sent  “Charles  V.  at 
Yuste,”  “Jacqueline  of  Bavaria  imploring  the  Pardon  of  her  Hus- 
band by  Philip  the  Good,”  and  “ The  Excommunication  of  Bouchard 
d’Anvers.” 

Wach,  Karl  Wilhelm.  (Ger.)  Born  at  Berlin  (1787-1845). 
Royal  Professor  and  member  of  the  Academy  of  Berlin.  Court 
painter.  He  studied  at  Berlin  Academy.  Especially  excelled  in 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  329 


knowledge  of  perspective.  In  the  war  of  1813  he  served  as  an  officer. 
Afterwards  at  Paris  he  studied  under  David  and  Gros.  In  1817  he 
went  to  Italy.  His  power  of  application  was  remarkable,  — in  three 
months  he  made  more  than  one  hundred  drawings  from  pictures,  — 
but  his  individual  style  was  not  changed  by  this  study.  In  1819  he 
returned  to  Berlin,  and  established  an  atelier  after  the  French  man- 
ner, where  he  received  large  numbers  of  pupils,  and  became  the  most 
distinguished  teacher  of  his  time.  He  painted  religious  and  his- 
torical subjects  and  portraits.  He  executed  two  altar-pieces  for  the 
Peter- Paul  Church  in  Moscow.  At  the  National  Gallery,  Berlin,  are 
his  “ Psyche  surprised  by  Cupid,”  “ A Madonna,”  and  “ Studies  of 
Heads.” 

Wagner,  Ferdinand.  {Ger.)  Born  at  Schwabmiinchen,  1820. 
Has  received  the  freedom  of  the  city  of  Augsburg.  Studied  under 
Cornelius  and  Sclmorr.  Paints  historical  subjects.  He  executed 
some  frescos  at  the  church  of  Konigsbrunn,  — others  in  the  govern- 
ment buildings  at  Constance  are  quite  famous.  He  has  also  painted 
decorative  works  in  Augsburg,  Breslau,  Meiningen,  Monaco,  etc. 

Wagner,  Alexander.  (Hungarian.)  Born  in  Pesth,  1838.  Pro- 
fessor at  Munich.  Medal  at  Philadelphia.  Studied  under  Piloty  at 
Munich.  Was  appointed  professor  when  but  twenty-eight  years  old. 
Among  the  more  important  works  of  Wagner  are,  “ An  Episode  of 
the  Siege  of  Belgrade  ” and  a portrait  of  the  Empress,  both  in  the 
Museum  at  Pesth  ; “ Departure  of  Queen  Isabella  Zapolya,”  belonging 
to  the  Hungarian  Academy  ; “ Baptism  of  Stephen  I.,  King  of  Hun- 
gary ” ; two  frescos  at  the  National  Museum  in  Munich,  called  “ En- 
trance of  CiTstavus  Adolphus  into  Aschaffenburg  ” and  the  “ Marriage 
of  Otho  the  Illustrious  ” ; at  Pesth,  a fresco,  “ The  Tournament  of 
Matthias  Corvinus,”  “ Hussar-Life,”  and  “ Madchenraub.”  Wag- 
ner is  best  known  in  America  by  his  “ Roman  Chariot-Race,”  photo- 
graphs of  which  were  familiar  before  his  second  work,  of  the  same 
subject,  was  seen  at  the  Philadelphia  Exposition.  This  is,  by  general 
consent,  considered  inferior  to  the  first  and  smaller  work,  which  was 
so  admired  at  Vienna,  and  is  now  owned  in  England.  “ The  Chariot- 
Race  ” was  followed  by  “ Racing  among  the  Horse-Herders  of  Debrec- 
zin.”  This  city  is,  next  to  Pesth,  the  leading  one  of  Hungary,  and 
the  herders  in  that  part  of  the  country  are  famed  for  their  skill  in 
lassoing  and  taming  the  wild  horses  of  the  Putzta. 

**  Alexander  Wagner  loves  his  technique,  hut  his  ruling  jiassion  is  to  get  at  the  mingled 
physical  and  spiritual  life,  the  action,  the  soul  of  a conception,  and  he  subordinates  all 
else  to  its  portrayaL”  — Art  Journal,  April,  1877, 

Waldo,  Samuel.  (Am.)  A native  of  Connecticut  (1783-1861). 
He  received  his  first  instructions  in  art  in  his  native  State,  but  painted 
for  some  time  in  Charleston,  S.  C.  In  1806  he  went  to  London,  and 
was  admitted  into  the  small  but  select  circle  of  American  artists  then 
in  the  English  metropolis.  After  painting  portraits  m London  for 


330  AliTISTS  OF  THE  NINETEENTH  CENTURY. 


three  years,  he  returned  to  the  United  States  in  1809  and  opened  a 
studio  in  New  York,  where  the  balance  of  his  professional  life  was 
spent.  He  devoted  himself  to  portrait-painting  udth  marked  success. 
The  New  York  Historical  Society  owns  his  likeness  of  Peter  Remsen, 
and  several  portraits  of  ex-mayors  of  the  city  of  New  York,  by  Waldo, 
are  in  the  City  Hall  there. 

Waldorp,  Antoine.  {Dutch.')  Bom  at  Basch  (1803-1867). 
Chevalier  of  the  Lion  of  the  Netherlands,  the  Crown  of  Oak,  and  the 
Order  of  Leopold.  He  at  first  painted  decorations,  but  devoted  him- 
self later  to  views  of  cities  and  marines. 

Walker,  Frederick,  A.  R.  A.  {Brit.)  Bom  in  London  (1840- 
1875).  Entered  the  office  of  an  architect  at  the  age  of  sixteen,  be- 
ginning the  study  of  art  a year  later,  soon  after  which  he  entered  the 
Royal  Academy,  London.  His  earliest  efforts  were  made  as  a de- 
signer on  wood,  showing  decided  genius  in  his  illustrations  of  current 
literature,  furnishing  the  drawings  for  Thackeray’s  “ Adventures  of 
Philip,”  and  other  books.  He  first  exhibited  in  colors,  “ The  Lost 
Path,”  at  the  Royal  Academy,  in  1863.  In  1864  he  was  elected  an 
Associate  of  the  Water-Color  Society,  and  a full  ^Member  in  1867, 
making  rapid  progress  in  that  branch  of  the  profession,  and  exhibiting 
frequently  such  works  as  his  “ Fishmonger’s  Shop,”  “ Spring,”  “ Au- 
tumn,” “ Stream  in  Invernesshire,”  “ Fate,”  “ Well-Sinkers,”  etc. 
In  oil,  also,  he  was  quite  successful,  sending  to  the  Royal  Academy,  in 
1868,  “ The  Vagrants  in  the  Glen  ” ; in  1869,  “ The  Old  Gate  ” ; in 
1870,  “ The  Plow  ” ; in  1871,  “ At  the  Bar”  ; in  1872,  “ The  Harbor 
of  Refuge  ” ; in  1875,  “ The  Right  of  Way,”  his  last  picture.  He  was 
elected  an  Associate  of  the  Royal  Academy  in  1870.  About  one 
hundred  and  fifty  of  his  works  in  oil  and  water-colors  were  exhibited 
in  London  after  his  death  in  1875. 

“ Mr.  Walker  is  especially  fond  of  out-door  light,  air.  dew,  sunshine,  and  the  freshness 
of  niorniirg  among  spring  leaves  and  floweis.  The  shrubs,  annuals,  and  budding  plants 
of  an  English  gai-den  have  probably  never  before  been  ]iaiuted  with  so  much  loving  sim- 
])!icity  and  harmonious  freshness  of  color.”  — Sidney  Colvin,  in  English  FainUrs  of  the 
Present  Bay,  1S71. 

“ Walker’s  ' Right  of  Way  ’ is  a child  frightened  by  sheep  while  crossing  a meadow, 
full  of  charming  expression  of  the  poetry  of  nature,  and  softly  and  deftly  handled  The 
painter  is  one  of  considerable  repute  in  this  special  line  of  art” — Art  Journal,  June, 
1875. 

" The  predominating  qualities  of  Walker’s  designs  for  book  illustration  are  facility  of 
invention  combined  with  great  tenderness  and  grace  in  drawing,  and  an  innate  percep- 
tion of  individual  character Of  what  may  be  termed  idyllic  painting  Walker  was 

unquestionably  one  of  the  ablest  representatives.  Defects  of  style  were  occasionally 
to  be  noticed,  but  they  were  in  great  measure  redeemed  by  grace  of  composition.”  — 
Art  Journal,  November,  1876. 

Wallace,  William.  {Brit.)  Bom  in  Falkirk  (1801  - 1866).  Por- 
trait-painter. He  practiced  bis  profession  in  Edinburgh  until  1833  or 
’34,  when  he  opened  a studio  in  Glasgow.  His  work  is  still  highly 
regarded  in  his  native  country. 


ARTISTS  OF  TEE  NINETEENTH  CENTURY. 


331 


Waller,  Frank.  {Am.)  Born  in  New  York,  1842.  He  received 
his  first  lessons  in  drawing  while  a pnpil  of  the  New  York  Free  Acad- 
emy. Between  the  years  1863  and  ’68  he  was  in  business  in  his  native 
city,  drawing  with  pen  and  ink,  and  painting  in  oil  in  his  leisure 
hours.  He  went  to  Europe  in  1870,  when  he  entered  the  studio  of 
J.  G.  Chapman  in  Rome,  and  first  resolved  to  adopt  art  as  a profession. 
In  1871  he  returned  to  New  York  ; but  again  crossed  the  ocean  in 
1872,  making  many  studies  in  Egypt  for  future  works.  On  his  Nile 
trip  he  was  accompanied  by  the  late  Edwin  White.  Since  1874  he 
has  studied  at  the  Art  Students’  League,  New  York.  He  has  been 
its  Treasurer,  and  was  its  first  President,  still  holding  the  latter  office. 
Among  his  works  are,  “ Temple  at  Biggeh  Philae  in  the  Distance,” 
“ Tombs  of  the  Califs,  near  Cairo,”  “ On  the  Desert,”  “ Santa  Maria 
del  Sasso,  Lake  Maggiore  ” (belonging  to  Parke  Godwin),  “ Ruins  near 
Cairo,”  “ Interior  of  a Studio,”  etc.,  views  of  Egypt  being  a specialty 
with  him.  He  exhibits  frequently  at  the  National  Academy,  New 
York. 

Walter,  Thomas  N.  (Am.)  Born  in  Philadelphia,  1804.  He 
studied  architecture  in  his  native  city,  under  Strickland,  and  began 
the  practice  of  the  profession  in  1830.  Among  the  public  buildings 
designed  by  Walter  are  the  Philadelphia  County  Jail,  in  1831  ; Girard 
College,  in  1833  ; the  extension  of  the  Capitol  at  Washington,  the 
iron  dome  of  the  Capitol,  the  new  Treasury  Building,  the  Con- 
gressional Library,  and  the  wings  of  the  Post-Office  and  the  Patent 
Office.  He  was  at  one  time  Professor  of  Architecture  in  Franklin 
Institute. 

Walton,  Elijah.  (Brit.)  A contemporary  English  water-color 
painter,  whose  favorite  subjects  are  mountain-tops  wrapt  in  mist,  and 
often  covered  with  snow.  There  was  an  exhibition  of  his  works, 
numerous  drawings  in  water-colors,  and  a few  pictures  in  oil,  in  Lon- 
don, in  the  summer  of  1874,  including  “ Dahabeah,”  “Valley  of  the 
Wandering,”  “ Mount  Sinai  ” (belonging  to  Dr.  Blackie),  “ Bedouins 
and  Dromedaries,”  etc. 

“ Elijah  Walton  has  shown  himself  equally  able  to  deal  with  the  ruddy  glow  of  the  hot 
East,  and  with  the  sunlit  aspect  of  the  Western  glaciers  and  snow-covered  mountains,  and 
while  he  is  truthful  in  his  delineation  of  the  local  characteristics  of  both  the  West  and 
East,  the  unvarying  sameness  of  his  system  of  treatment  establishes  a strangely  close 
connection  between  the  two.  In  his  Egyptian  and  Arabian  scenes  Mr.  Walton’s  peculiari- 
ties are  productive  of  the  happiest  effect ; and  he  seems  to  have  entered  into  all  of  the 
associations  of  the  scene  with  an  unusual  depth  of  feeling.”— Art  Journal,  August,  1874. 

Wappers,  Egide-Charles-Gustave,  Baron.  (Belgian.)  Bom  at 
Antwerp  (1803-  1875).  Painter  to  Leopold  I.  Officer  of  the  Legion 
of  Honor.  Pupil  of  the  Academy  of  Antwerp,  and  of  Herreyns  and 
Van  Bree.  He  went  to  Paris,  and  adopted  the  manner  of  the  ro- 
mantic school.  From  1846  to  ’53  he  was  Director  of  the  Academy 
of  Antwerp,  and  resigned  the  office,  in  which  he  was  followed  by  De 
Keyser.  His  pictures  are  mostly  of  historic  subjects,  such  as  “ The 


332  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Devotion  of  the  Burgomasters  of  Leyden,”  “ Charles  IX.  during  St. 
Bartholomew’s  Massacre,”  “ Peter  the  Great  with  the  Ship-Builders 
of  Saardam,”  “ The  Defence  of  Rhodes  by  the  Knights  of  Saint-John 
of  Jerusalem”  (for  the  Galler}^  of  Versailles),  “The  Great  Fishing  at 
Antwerp  ” (for  Queen  Victoria),  etc.  He  also  made  numerous  por- 
traits. Mr.  Probasco  of  Cincinnati  has  in  his  collection  the  “ Neuvaines 
of  the  Family  of  Count  Egmont  previous  to  his  Execution  by  the 
Duke  of  Alva,”  painted  in  1866. 

Ward,  Edward  M.,  R.  A.  (Brit.)  Bom  in  London,  1816.  He 
entered  the  schools  of  the  Royal  Academy  in  1835.  Went  to  Rome 
in  1836,  studying  in  that  city  for  three  years,  winning  a medal  in  the 
Academy  of  St.  Luke  for  historical  composition  in  1838.  He  returned 
to  England  in  1839,  exhibiting  his  first  picture,  “ Cimabue  and  Giotto,” 
the  same  year.  In  1840  he  sent  to  the  Royal  Academy  “ King  Lear,” 
and  in  1843,  to  the  British  Institution,  “ Napoleon  in  the  Prison  of 
Nice,”  which  was  subsequently  the  property  of  the  Duke  of  Welling- 
ton. Among  his  early  works  are,  “Dr.  Johnson  reading  the  Manu- 
script of  the  Vicar  of  Wakefield,”  “ The  Early  Life  of  Goldsmith,” 
“Dr.  Johnson  in  the  Antechamber  of  Lord  Chesterfield’s  House,” 
“ Lord  Clarendon’s  Disgrace,”  in  1846  ; “ The  South  Sea  Bubble,”  in 
1847  ; “ London  during  the  Great  Fire,”  in  1848  ; “ Charles  Second 
and  Nell  Gwynn,”  in  1849  ; “ Daniel  Defoe  with  the  Manuscript  of 
Robinson  Crusoe,”  in  1850  ; “Isaac  Walton  Angling,”  in  1851  ; “The 
Royal  Family  of  France  in  the  Temple,”  in  1852  ; “Charlotte  Corday 
going  to  Execution”  and  “The  Execution  of  Montro.se,”  in  1853; 
and  “The  Last  Sleep  of  Argyle,”  in  1854.  In  1856,  when  he  was 
made  Royal  Academician,  hatdng  been  elected  an  Associate  ten  years 
pretdously,  he  exhibited  “ Marie  Antoinette  parting  with  her  Son.” 
In  1858,  by  Royal  command,  he  painted  “ Victoria  visiting  the  Tomb 
of  Napoleon  I.”  and  “ The  Investment  of  the  Garter  upon  Napo- 
leon III.”  His  “ Antechamber  at  Whitehall  during  the  Dying  Mo- 
ments of  Charles  II.”  was  exhibited  at  the  Royal  Academy  in  1861 ; 
“Charlotte  Corday  in  Prison,”  in  1863;  “ Thackeray  in  his  Study,” 
in  1864  ; “The  Night  of  Rizzio’s  Murder,”  in  1865  ; “Amy  Robsart 
and  Leicester,”  in  1866  ; “Juliet  in  Friar  LavTence’s  Cell,”  in  1867  ; 
“The  Marriage  of  the  Duke  of  York  to  Lady  Anne  Mowbray,”  in 
1868  ; “Beatrice,  Much  Ado  about  Nothing,”  in  1869  ; “Judge  Jef- 
freys and  Richard  Baxter,”  in  1870  ; “Anne  Boleyn  at  the  Queen’s 
Stairs,  Tower,”  in  1871  ; “ The  Quarrel  between  Captain  Absolute 
and  Lydia  Languish,”  in  1872  ; “ The  Eve  of  St.  Bartholomew”  and 
“ The  Landing  of  Charles  Second  at  Dover,”  in  1873  ; “ Midsummer,” 
“ Christmas,”  and  “ Charles  Second  and  Lady  Rachel  Russell,”  in 
1874  ; “ Lady  Clara  Vere  de  V ere  ” and  “ The  Orphan  of  the  Temple,” 
in  1875  ; “A  Normandy  Fish-Market,”  in  1876  ; “Forbidden  Fruit,” 
“William  Third  at  Windsor,”  and  “Forgotten,  — Court  of  Charles 
Second,”  in  1877.  He  contributed  both  to  Philadelphia  in  1876,  and 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  333 


to  Paris  ia  1878.  Mr.  Ward  has  been  a very  prolific  painter,  sending 
every  year  five  or  six  elaborate  works  to  the  Royal  Academy.  Many 
of  his  paintings  have  been  engraved.  His  “ Dr.  J ohnson  in  the  Ante- 
room of  Lord  Chesterfield,”  “ The  Disgrace  of  Lord  Clarendon,”  “ South 
Sea  Bubble,”  and  “ James  Second  receiving  the  News  of  the  Landing 
of  the  Prince  of  Orange”  are  the  property  of  the  nation,  in  the 
National  Gallery.  He  contributed  eight  pictures  in  fresco  for  the  cor- 
ridor of  the  House  of  Commons. 

“In  liis  ‘Charlotte  Corday’  [R.  A.,  1863]  Mr.  Ward  has  attempted  a subject  which 
hardly  any  power  in  art  could  render  pleashig ; and  conscientiously  as  he  has  studied 
tlie  period,  one  cannot  help  feeling  that  these  decisively  foreign  historical  subjects  are 

dangerous  ground In  his  larger  picture,  ‘Tlie  Foundlings  visiting  Hogarth’s 

Studio,’  tlie  artist  has  selected  what  the  result  proves  to  he  a better  field  for  the  exer- 
cise of  his  inventive  powers.  The  execution  is  indeed  hard  and  grating ; it  is  almost 
like  wind-instruments  played  out  of  tune  ; but  the  vivacity  of  the  children,  and  the 
pretty,  natural  action,  shown  in  some  of  their  figures,  would  render  the  design  attractive 
in  print.”  — Falorave’s  Essays  on  Art, 

“ This  picture  is  a most  masterly  performance,  ‘ Eve  of  St.  Bartholomew  ’ [R.  A.,  1873]. 
Never  did  Mr.  Ward  take  up  a subject  which,  according  to  our  idea,  had  less  promise, 
and  never  has  he  made  more  of  a passage  he  has  taken  in  hand.”  — Art  Journal,  June, 
1873. 

“The  artist  has  made  a touching  picture  [‘  William  III.  at  Windsor,’  R.  A.,  1877],  like 
many  others  from  his  hands  calculated  to  appeal  to  the  common  human  heart.  He  has 
told  the  story  very  pleasantly.  We  need  hardly  say  that  the  walls,  near  and  remote, 
which  include  a portion  of  the  chapel,  and  the  costume  of  the  guard  of  the  King,  are 
perfect.  No  painter  takes  greater  delight  and  pains  to  ascertain  the  facts  of  history 
when  he  makes  history  his  study.  The  whole  scene  is  compact  and  wisely  arranged.”  — 
Londom,  Standard,  May,  1877. 

“Mr  Ward  has  realized  an  incident  which  actually  took  place,  with  convincing  fidel- 
ity [‘Last  Interview  between  Napoleon  I.  and  Queen  LouLsa  of  Prussia,’ R.  A.,  1877]. 
Only  the  back  of  the  Emperor  is  seen,  but  his  unheroic  figure,  his  head  sunk  between 
his  shoulders,  and  his  hands  clasped  behind  his  back,  are  very  characteristic  ; and  the 
figure  of  Talleyrand,  who  looks  over  his  shoulder  at  the  Queen,  with  an  air  of  exultation, 
is  scarcely  less  good.  The  portraits  have  evidently  been  taken  from  authentic  sources, 
and  all  the  details  of  costume  and  accessories  are  scrupulously  correct.  The  artist  never 
spares  either  time  or  trouble  to  secure  absolute  accuracy  in  these  matters.”  — Lo7jdo)i 
Globe,  May,  1877. 

Ward,  Henrietta.  {Brit.)  Wife  of  Edward  M.  Ward,  R.  A.,  be- 
longing by  birth  to  an  artistic  family,  her  father  being  Raphael  Ward, 
an  engraver,  and  her  grandfather,  Janies  Ward,  R.  A.,  one  of  the  best 
animal-painters  of  England.  Mrs.  Ward,  in  late  years,  has  been  a 
regular  contributor  to  the  Exhibitions  of  the  Royal  Academy.  In 
1860  she  sent  “ The  First  Step  in  Life  ” ; in  1862,  “ Despair  of  Queen 
Henrietta  Maria  at  the  Death  of  Charles  I.”  ; in  1863,  “ Mary,  Queen 
of  Scots,  quitting  Sterling”  ; in  1864,  “ The  Tower,  ay,  the  Tower ! ” ; 
in  1866,  “ Palissy  the  Potter  ” ; in  1867,  “ Scene  from  the  Childhood 
of  Joan  of  Arc”;  in  1868,  “Lady  Jane  Grey”;  in  1869,  “Scene 
from  the  Childhood  of  the  Old  Pretender”;  in  1870,  “Going  to 
Market,  Picardy”;  in  1871,  “The  Fortunes  of  Little  Fritz””  in 
1872,  “The  Queen’s  Lodge,  Windsor,  in  1786”;  in  1873,  “Chat- 


334  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


terton”  ; in  1874,  “ The  Defence  of  Latham  House”  ; in  1875,  “ The 
Poet’s  First  Love”;  in  1876,  “The  Ugly  Duckling”;  in  1877, 
“ Princess  Charlotte  of  Wales  ” ; in  1878,  “ One  of  the  Last  Lays  of 
Robert  Burns,”  several  of  which  were  at  Philadelphia  in  1876  and  at 
Paris  in  1878. 

“Many  traces  of  this  artist’s  manner  [E.  M.  Ward’s]  are  naturally  seen  in  Mrs. 
Ward’s  picture,  ‘ Mary  of  Scotland  giving  her  Infant  to  the  Charge  of  Lord  Mar  ’ [R.  A., 
1S63].  Tliis  work  is  finely  painted,  and  tells  its  tale  with  clearness.’’ — Palgrave’s 
Essays  on  A rt. 

“ Mrs.  Ward  is  a pleasantly  gifted  and  accomplished  painter  of  genre,  especially  in  its 
relation  to  child-life.  Her  ‘ Little  Fritz  ’ and  ‘ The  First  Interview  between  Josephine 
and  the  King  of  Rome’  [R.  A.,  1S71]  are  instances  in  point”  — Mrs.  Tytler's  Modern 
Painters. 

“‘The  Poet’s  First  Love’  [R.  A.,  1875],  by  Mrs.  Ward,  is  an  episode  of  child-life, 
painted  with  considerable  artistic  finish  and  care,  and  betokening  many  evidences  of  skill 
in  the  department  of  landscape-painting.”  — Art  Journal,  July,  1S75. 

Ward,  John  Q.  A.,  N.  A.  (Am.')  Bom  in  the  State  of  Ohio,  1830. 
Displayed  a talent  for  plastic  art  at  an  early  age.  Studied  under  H. 
K.  Brown,  remaining  his  pupil  for  six  years,  1850-56.  He  modeled 
in  Wa.shington  during  the  sessions  of  Congress  for  two  winters.  In 
1857  he  made  his  first  sketch  for  “ The  Indian  Hunter,”  now  in  Central 
Park,  New  York  ; subsequently  visiting  the  Indian  country  in  the  far 
West  in  order  to  study  his  subject  in  the  aboriginal  state.  In  1861 
he  opened  a studio  in  New  York,  ivas  elected  an  Associate  of  the  Na- 
tional Academy  in  1862,  Academician  in  1863,  and  President  in  1874. 
In  1866  he  executed  the  group  of  statuary  (now  in  the  Public  Garden, 
Boston)  in  honor  of  the  discovery  of  amesthetics,  and  in  1867  he  pre- 
sented his  design  for  the  Shakspere  statue  in  Central  Park,  N.  Y. 
Among  Ward’s  portrait  busts  are  those  of  Alexander  H.  Stephens, 
Vice-President  Hamlin,  Dr.  Valentine  Mott,  Joshua  Giddings,  James  T. 
Brady,  etc.,  and  a full-length  statue  of  Commodore  Perry,  erected  by  his 
son-in-law,  August  Belmont,  in  Newport,  R.  I.  His  “ Indian  Hunter” 
and  “ Freedman,”  both  in  bronze,  were  at  the  Paris  Exposition  of 
1867,  and  in  the  National  Academy,  New  York,  the  next  winter. 
The  “ Freedman  ” is  now  on  the  steps  of  the  Capitol  at  Washington. 
In  the  Capitol  at  Washington  he  has  also  a bronze  statue  of  Putnam, 
executed  for  the  State  of  [Massachusetts,  and  he  is  the  author  of  the 
Seventh  Regiment  statue  in  Central  Park,  New  York. 

“A  naked  slave  has  burst  his  shackles,  and  with  uplifted  face  thanks  God  for  freedom 
[Ward’s  ‘ Freedman  ’].  It  symbolizes  the  African  race  of  America,  the  birth  of  a new 
people  witliin  the  ranks  of  Christian  civilization.  We  have  seen  nothing  in  our  sculpture 
more  soul-lifting  or  more  comprehensively  eloquent.”  — Jarves,  Art  Idea. 

“ Although  Mr.  Ward  has  never  practiced  modeling  in  an  academy  or  foreign  or  famed 
studio,  he  has  labored  with  rare  assiduity  to  master  the  principles  of  his  art  He 
understands  proportion  and  anatomical  conditions.  His  figure  of  Shakspere  stands 
firmly  and  naturally  on  its  feet,  and  is  hannoniously  true  to  the  conditions  and  relations 
of  the  human  form.” — Tuckerman’s  Book  of  the  Artists. 

Ward,  Edgar  M.,  A.  N.  A.  (Am.)  Bom  at  Urbana,  Ohio. 
Younger  brother  of  J.  Q.  A.  Ward.  He  has  studied  in  Paris,  under 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  335 


Cabanel,  spending  the  better  part  of  his  professional  life  on  the  Conti- 
nent. He  painted  in  the  studio  of  his  brother  in  New  York  during 
the  winter  of  1876  and  ’77.  He  is  an  Associate  of  the  National  Acad- 
emy, exhibiting  there  and  in  the  Paris  Salon.  His  Brittany  Wash- 
erwomen ” (belonging  to  Robert  Gordon)  was  at  the  Philadelphia 
Exhibition  of  1876.  His  “ Sabot-Maker,”  “ V enetian  Water-Carriers,” 
and  “ Washing  in  Brittany  ” (the  last  belonging  to  J.  H.  Sherwood) 
were  at  Paris  in  1878. 

“ Ward  lias  studied  conscientiously  and  in  a severe  school,  and  the  character  of  his 
work,  in  almost  every  liglit  in  which  it  may  he  viewed,  will  stand  the  test  of  comparison 
with  the  pictures  of  the  leading  artists  represented  in  the  Exhibition The  color- 

ing of  the  works  [‘  Young  Housekeepers  in  Brittany’  and  ‘ Washing  in  the  Brook,’  N.  A., 
1875]  is  quiet  and  unobtrusive,  and  it  is  evident  the  artist  has  simply  painted  what 
he  saw,  and  has  introduced  no  sensational  features  to  secure  momentary  applause.”  — 
Art  Journal.  May,  1875. 

Warner,  Olin  L.  (Am.)  Born  at  Suffield,  Ct.,  1844.  He  stud- 
ied sculpture  in  I’Ecole  des  Beaux-Arts,  Paris,  under  Jouifroy,  and 
afterwards  in  the  studio  of  Carpeaux,  spending  his  professional  life  in 
Paris  and  New  York.  He  is  a member  of  the  Society  of  American 
Artists.  Among  his  more  important  works  are  a statuette  entitled 
“ May,”  exhibited  at  the  National  Academy  in  1873  (now  owned  by 
Archer  and  Pancoast,  New  York),  a colossal  medallion  of  Edwin  For- 
rest (at  the  Centennial  Exhibition  of  1876),  a bust  of  President  Hayes 
(belonging  to  the  Union  League  Club,  New  York),  and  a statuette  in 
marble  called  “ Night.” 

Warren,  Henry.  (Brit.)  Born  in  London,  1798.  He  began  his 
art  studies  as  a sculptor,  under  Nollekens,  about  1816  ; later,  he 
turned  his  attention  to  painting,  entering  the  schools  of  the  Royal 
Academy.  He  exhibited  for  some  years  in  oil,  but  joined  the  Insti- 
tute of  Painters  in  Water-Colors  early  in  its  organization,  and  has 
since  devoted  himself  entirely  to  that  branch  of  his  profession,  and 
with  marked  success.  He  was  for  some  time  President  of  the  Insti- 
tute, and  has  been  Honorary  President  for  many  years.  Among  his 
drawings  are,  “ Cottages  at  Linton,  Cambridgeshire,”  painted  in  1815, 
and  many  others,  some  of  which  have  brought  very  large  prices.  He 
has  exhibited  rarely  of  late  years. 

Warren,  Edmond  G.  (Brit.)  Son  of  Henry  W'arren,  a pupil  of 
his  father,  and  for  some  years  an  active  member  of  the  Institute  of 
Painters  in  Water-Colors,  exhibiting,  among  others,  “ Summer  Morn- 
ing on  the  River  Arun,”  “ A Water  Picnic,”  “ Waiting  at  the  Lock,” 
“Epping  Forest,”  “A  Rural  Horae,”  “Getting  in  the  Corn,”  and 
(in  1878)  “ Summer  Shade,”  “ A Forest  Clearing,”  “ Under  the  Shady 
Beeches,”  etc. 

Wasson,  George  S.  (Am.)  Born  at  Groveland,  Mass.,  1855. 
He  studied  at  the  Royal  Academy  at  Stuttgart  from  1872  to  ’75,  and 
received  a medal  for  drawing.  He  paints  marine  views  and  land- 
scapes, and  exhibits  at  the  Boston  Art  Club.  He  has  a studio  at 
present  in  Boston. 


336  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Waterhouse,  Alfred,  A.  R.  A.  {Brit.)  Bom  near  Liverpool, 
1830.  Received  his  early  training  in  the  ofiBce  of  an  architect  in 
Manchester,  where  he  began  his  professional  career.  Studied  for 
some  time  on  the  Continent,  and  was  the  successful  competitor  for 
the  Manchester  Assize  Courts  in  1859,  building  also  in  that  city  the 
Salford  Gaol,  Owens  College,  and  the  Town  Hall,  commenced  in 
1866.  Among  his  other  public  buildings  are  the  new  portions  of 
Baliol  College,  Oxford,  and  of  Caius  and  Pembroke  Colleges,  Cam- 
bridge ; Lime  Street  Station  Hotel,  Liverpool ; new  National  Historj' 
Museum,  South  Kensington  ; new  University  Club,  and  many  coun- 
try-houses throughout  England.  In  1867  he  was  made  a member  of 
the  Academy  of  Vienna,  won  the  Grand  Prix  at  the  Paiis  Intern, a- 
tional  Exhilrition  the  same  year,  has  been  for  some  time  one  of  the 
Vice-Presidents  of  the  Royal  Institute  of  British  Architects,  and  was 
elected  an  Associate  of  the  Royal  Academy  in  1878. 

Waterman,  Marcus,  A.  N.  A.  (Am.)  Born  in  Providence,  R.  I., 
and  educated  .at  Brown  University.  He  worked  at  his  profession  for 
some  time  in  New  York,  opening  a studio  in  Boston  in  1874.  A col- 
lection of  his  works  was  exhibited  and  sold  in  Boston  in  the  spring 
of  1878,  previous  to  his  departure  for  Europe.  He  is  an  Associate  of 
the  National  Academy,  and  a member  of  the  Artists’  Fund  and  Ameri- 
can Water-Color  Societies.  His  “ Gulliver  in  Liliput  ” was  at  the 
Centennial  Exhibition  at  Philadelphia  in  1876. 

Watson,  John  D.  (Brit.)  Born  in  Yorkshire,  1832.  He  was  a 
student  of  the  Manchester  Academy  of  De.sign,  and,  later,  of  the  Royal 
Academy,  London.  He  first  exhibited  at  the  Royal  Academy,  in  1853, 
*•  An  Artist’s  Study,”  and  his  pictures  since  have  frequently  been  seen 
on  its  walls;  among  others,  “Woman’s  Work,”  “Thinking  It  Out,” 
“ Saved,”  “ The  Stolen  Meeting,”  “ The  Plague  of  her  Life,”  “ The 
Old  Clock,”  “ The  Gleaner’s  Harvest,”  etc.  He  has  contributed  also, 
regularly,  to  the  exhibitions  of  the  Society  of  Painters  in  Water- 
Colors,  of  which  he  was  made  an  Associate  in  1865,  and  a full  Mem- 
ber in  1870.  Among  his  drawings  in  this  medium  are,  “The  Duet,” 
“ The  Cottage  Door,”  “A  Gentleman  of  the  Road,”  “ A Chat  by  the 
Way,”  “ The  Village  Stream,”  “ The  Swineherd,”  “ The  Clandestine 
Marriage,”  and  many  more. 

He  received  a medal  at  the  Vienna  Exposition  of  1873,  to  which  he 
sent  “ The  Poisoned  Cup.”  To  Paris,  in  1878,  he  sent  “ The  Gleaner’s 
Harvest,”  “ Only  Been  with  a Few  Friends  ” (in  oil),  “ Stolen  Marriage,” 
“ Book  liore,”  etc.  He  has  been  successful  as  an  illustrator  of  maga- 
zines and  books,  and  has  made  drawings  for  holiday  editions  of  such 
volumes  as  “ Robinson  Crusoe  ” and  “ The  Pilgrim's  Progress,”  which 
are  very  popular. 

Watson,  Thomas  H.  (Brit.)  Born  in  1839.  Educated  at  the 
Royal  Academy,  he  received  several  medals  for  architectural  drawings, 
and  was  awarded  the  “ first  annual  traveling  studentship  ” in  1863. 


ARTISTS  OF  TEE  NINETEENTH  CENTURY.  337 


He  has  furnished  designs  for  several  important  public  and  private 
buildings  in  Great  Britain,  and  was  elected  President  of  the  British 
Architectural  Association  in  1871. 

Watt,  James  Henry.  (Rrit.)  (1799-1867.)  A pupil  and  assist- 
ant of  Charles  Heath.  Resided  in  London,  and  executed  many  well- 
known  plates  after  Landseer,  Eastlake,  Leslie,  and  other  modern 
painters. 

Watter,  Josef.  {Bavarian.)  An  artist  of  the  modern  realistic 
school  of  Munich.  Among  his  works  are,  “ In  a Bavarian  Stage- 
Coach,”  “ On  the  Edge  of  a Wood,”  “Ann,  is  it  you  i”  etc. 

Watts,  George  F.,  R.  A.  {Brit.)  Born,  1818.  First  exhibited  at 
the  Royal  Academy  in  1837.  Received  a prize  of  .£300  for  a cartoon, 
“ Caractacus,”  and  £ 500  for  his  “ Alfred  inciting  the  Saxons  to  Mari- 
time Enterprise,”  from  the  Commissioners  for  the  Decoration  of  the 
Houses  of  Parliament  in  1843.  He  painted  also  “ St.  George  and  the 
Dragon.”  at  Westminster  Palace,  and  a large  fresco  in  the  new  Hall 
of  Lincoln’s  Inn.  Among  his  most  successful  portraits  are  those  of 
Tennyson  (1862),  Gladstone  (1865),  Duke  of  Argyle  (1860),  Dean  of 
Westminster  (1867),  J.  E.  MiUais  and  Frederick  Leighton  (1871),  Rev. 
James  Martineau  and  John  Stuart  Mill  (1874).  Among  his  ideal 
and  mythological  works  may  be  mentioned,  “The  Window-Seat” 
and  “ Sir  Galahad  ” at  the  Royal  Academy  in  1862  ; “ Virginia  ” and 
“Ariadne,”  in  1863;  “Esau,”  in  1865;  and  “ Thetis,”  in  1866.  In 
1867,  when  he  was  elected  an  Associate  of  the  Royal  Academy, 
he  contributed  “A  Lamplight  Study”  ; and  in  1868,  when  he  was 
raised  to  the  rank  of  Academician,  “ The  Wife  of  Pygmalion  ” and 
“ The  Meeting  of  Jacob  and  Esau.”  In  1869  he  sent  “ The  Return  of 
the  Dove ’’and  “The  Red  Cross  Knight  and  Una”;  in  1870,  “ Daphne”; 
in  1873,  “ The  Prodigal”;  in  1875,  “ Dedicated  to  all  the  Churches  ”; 
in  1876,  “By  the  Sea,  — a Study  ”;  in  1877,  “The  Dove”;  in  1878, 
“ Britomart  and  her  Nurse.”  He  has  contributed  several  portraits 
and  ideal  figures  to  the  Grosvenor  Gallery.  His  “ Love  and  Death,” 
“Esau,”  and  a portrait  of  Herr  Joachim  and  one  of  Robert  Browning 
were  at  Paris  in  1878. 

“ As  a real  master  in  tender  coloring  and  admirable  delicacy  of  touch,  Mr.  Watts  does 
liis  gifts  better  justice  in  the  beautiful  girl’s  head  named  ‘Choosing’  [R  A.,  1804]. 
Surely  a work  like  this,  with  the  many  charming  specimens  in  the  same  style  which  we 
have  received  from  this  artist,  may  be  admitted  as  evidence  in  what  direction  his  genius 
really  lies  ; not  force,  thought,  imagination,  but  refinement,  grace,  and  fancy.  It  is  his 
work  in  the  latter  manner  which  will  at  any  rate  be  preferred  by  all  the  world  to  his  at- 
tempts in  the  terribile  via  of  life-size  allegories.  ’ — Palgrave’s  Essays  on  Art. 

“ But  whether  of  distinguished  men,  or  of  men  and  women  utterly  unknown  to  the 
world,  the  portraits  of  Mr.  Watts  stand  out  in  strong  relief  from  the  portraits  of  the 
jiainter’s  contemporaries,  redeeming  portrait-painting  from  the  charge  of  decline  in  our 
day.”  — Mrs.  Tytler’s  Modern  Painters. 

" Mr.  Watts  has  painted  much,  he  has  also  thought  much,  and  his  works  have  come  to 
be  regarded  as  the  exponents  of  a principle,  and  the  expression  of  a conviction.  As  a 
painter,  he  has  few  followers,  and  no  imitators,  and  yet  the  example  he  sets,  if  it  have 

VOL.  II.  15 


V 


338  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


slight  visible  sign,  is  felt  as  a guiding  power It  is  well  known  that  the  use  of 

fresco  in  domestic  decoration,  though  still  a novelty  in  England,  finds  abundant  prece- 
dents in  Rome,  Florence,  Bologna,  and  Genoa.  Mr.  Watts  has  perhaps  done  more  than 
any  other  man  to  domesticate  high  art  in  the  homes  of  England.”  — J.  B.  Atkixsos,  in 
English  Painters  of  the  Present  Day,  1871. 

“ Mr.  Watts’  portraits  are  all  conscientious  and  subtle,  and  of  great  present  interest, 
yet  not  realistic  enough  to  last.” — Ruskin’s  Notes  of  the  Academy,  1875. 

Wauters,  Charles  Augustin.  {Belgian.)  Born  at  Boom,  1811. 
Chevalier  of  the  Order  of  Leopold.  Two  great  medals  at  Brussels. 
Director  of  the  Academy  of  Malines,  where  he  had  been  a pupil  under 
Van  Bree.  His  subjects  are  religious  and  historical  ; he  has  also 
painted  portraits  and  a few  genre  scenes.  Among  his  works  are, 
“ Peter  the  Hermit  preaching  the  Crusade,”  “ The  Passage  of  the 
Red  Sea,”  “ The  Martyrdom  of  Saint  Lawrence,”  “ Giotto,”  “ Dante 
and  Beatrice,”  “ Death  of  Mary  of  Burgundy,”  “ The  Day  after  the 
Ball,”  “ The  Unhappy  Family.” 

Wauters,  Emile  Charles.  {Belgian.)  Bom  at  Bru.ssels.  Member 
of  the  Academies  of  Brussels  and  Vienna,  and  Knight  of  the  Order  of 
Leopold.  Medals  at  Paris  in  1875  and  ’76.  Pupil  of  Portaels.  He 
exhibited  at  the  Paris  Salon  in  1877,  “ Mary  of  Burgundy  sworn  to 
respect  the  Privileges  of  the  Commons,  1477  ” (for  the  grand  stairca.se 
of  the  Hotel  de  Ville  at  Brussels)  ; in  1875,  “ The  Madness  of  Hugh 
van  der  Goes  ” (belonging  to  the  Bcdgian  Government).  His  picture 
of  “ Mary  of  Burgundy  before  the  Sheriffs  of  Ghent  ” was  exhibited 
in  London,  and  was  much  noticed.  At  Berlin,  in  1876,  he  exhibited 
a portrait  of  Herr  C.  Somzee.  At  Paris,  in  1878,  three  of  the  fore- 
going pictures  were  exhibited. 

Way,  A.  J.  H.  {Am.)  Bom  in  Washington,  D.  C.,  1826.  He 
inherited  his  taste  for  art  from  his  mother,  who  is  said  to  have  handled 
the  pencil  with  no  little  skill.  He  began  his  studies  under  John  P. 
Frankenstein  in  Cincinnati,  at  that  time  considered  one  of  the  strong- 
est head-painters  in  the  country-.  Later,  he  was  a pupil  of  Alfred  J. 
Muller  of  Baltimore.  In  1850  he  went  to  Paris,  entering  the  atelier 
of  Drolling  ; in  1851  he  was  admitted  to  the  Academy  of  Fine  Arts 
in  Florence.  He  spent  four  years  in  study  in  Europe,  and  the  rest  of 
his  professional  life  in  Baltimore.  He  was  one  of  the  four  artists  who 
organized  the  Maryland  Academy  of  Fine  Arts,  and  was  for  some 
time  its  Vice-President.  His  early  efforts  were  directed  to  portrait- 
ure, but  about  1859  he  painted  by  chance  a fruit-piece,  which  at- 
tracted the  attention  of  Leutze,  who  advised  him  to  devote  himself  to 
still-life,  a branch  of  the  profession  he  has  since  followed  with  marked 
succe.ss.  He  has  exhibited  for  the  last  twenty  years  in  the  National 
Academy,  and  occasionally  at  the  Royal  Academy,  London.  Among 
the  better  known  of  his  works  are,  “ A Christmas  Morning  ” (chromo- 
lithographed  in  Berlin,  and  well  known  in  America).  It  was  painted 
in  1870.  His  “ Appetizer  ” has  also  been  chromoed.  Dr.  H.  F.  Zol- 
lickoffer  of  Baltimore  owms  his  “ Purity  ” and  “ Flora  and  Pomona.” 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  339 


His  “ Prince  Albert  Grapes  ” (1874)  is  in  the  collection  of  W.  T. 
Walters  of  Baltimore.  To  the  Centennial  Exhibition  of  1876  he  con- 
tributed two  panels  (grapes)  belonging  now  to  J.  T.  Williams  of  New 
York,  for  which  he  received  a medal  “ for  excellence  in  still-life.” 

“Perhaps  Mr.  Way  is  best  known  by  ‘A  Christmas  Memory.’  It  is  a small  picture, 
and  represents  a plate  of  Sevres  porcelain,  with  bunches  of  grapes  and  raisins,  an 
orange,  some  ruddy  apples,  etc.,  all  resting  on  a crimson  and  blue  fruit  napkin.  Thus 
it  would  have  made  a charming  dessert  piece  ; but  some  sprigs  of  holly  were  twisted 
into  a sort  of  wreath,  giving  warmth  to  the  picture  and  suggesting  the  season.”  — Wash- 
ington, D.  C.,  Capitol,  September  1.5,  1872. 

“In  all  qualities  of  form,  color,  texture,  and  solidity,  his  grapes  are  admirable.  He 
attains  these  fine  results  by  conscientious  portraiture  of  his  models.  He  selects  fine 
bunches  of  his  favorite  fruit,  hangs  them  in  the  light  that  he  desires,  and  against  such 
background  as  best  brings  out  their  beauties,  and  then  paints,  with  the  most  loving  care, 
every  detail.  His  treatment  of  this  subject  is  most  masterly.”  — Baltimore  Every  Satur- 
day, November  10,  1S77. 

Weber,  August.  (Ger.)  Born  at  Frankfort  (1817  - 1873.)  Stud- 
ied under  Rosenkranz,  and,  later,  in  Darmstadt  under  Schilbach. 
Settled  at  Diisseldorf,  where  he  became  a professor.  His  evening 
lights  and  moonlight  effects  are  worthy  of  notice.  Weber  painted  in 
water-colors  and  executed  some  lithographs.  At  the  National  Gal- 
lery, Berlin,  is  “A  Westphalian  Landscape”  by  him  ; at  the  Leipsic 
Museum,  a “ Moonlight  Scene.” 

Weber,  Paul.  (Ger.)  Born  about  1823.  Made  his  studies  in 
Frankfort.  In  1848  he  went  to  the  United  States  and  settled  in  Phila- 
delphia. In  1857  he  traveled  in  Scotland  and  Germany,  and  returned 
to  America.  In  1858  he  went  to  Darmstadt,  and  was  there  appointed 
court  painter.  Since  then  he  has  sometimes  resided  in  Munich. 
“A  Scene  in  the  Catskills”  (painted  in  1858)  is  a good  example  of 
his  work,  and  is  now  in  the  Corcoran  Gallery  at  Washington.  One 
of  his  most  important  pictures,  called  “ Morning,”  is  in  the  Gallery  of 
the  Pennsylvania  Academy  of  Fine  Arts.  A large,  fine  picture  by 
Weber,  “Lake  Chiemsee,  in  the  Bavarian  Highlands,”  belongs  to 
Mrs.  E.  D.  Kimball  of  Salem,  Mass.  Several  works  of  this  artist 
were  exhibited  at  the  National  Academy,  New  York,  in  1869. 

Weber,  Otto.  (Ger.)  Born  at  Berlin.  Killed  in  the  war  of 
1870.  Medals  at  Paris  in  1864  and  ’69.  Pupil  of  Steffeck  and 
Couture.  At  the  Salon  of  1870  he  exhibited  “ Springtime  ” and 
“ Annunziata,—  the  Spinner  and  her  Cow  ” ; in  1869,  “ An  Ox-Team  ” ; 
in  1868,  “ The  Deer  Quarry  ” aud  “ La  rentree  du  bois  de  chauffage  ” ; 
in  1867,  “The  Plowing”  and  “Under  the  Chestnut-Trees”;  in 
1864,  “A  Wedding  at  Pontaven,  Brittany”  and  “Cattle  in  a 
Wood.”  At  the  Walters  Gallery,  Baltimore,  are  “ The  Hay-Gather- 
ing” and  a large  representation  of  a “Fete  in  Brittany,”  by  this 
artist.  The  whole  work,  figures  and  landscapes,  is  worthy  of  praise. 
Two  of  his  pictures  are  in  the  Luxembourg. 

“ The  first  picture  by  Otto  Weber  that  proved  his  claim  to  high  position  was  exhibited 
in  the  Salon  of  1866,  and  afterward  in  Mr.  Wallis’  exhibition,  in  the  Suffolk  Street  Gal- 


340  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


lery.  It  was  entitled  ‘ La  premiere  neige  siir  I’Alin  (Bavierc),*  and  represented  Bavarian 
I)easants  bringing  their  cattle  down  from  the  moiuitains.  The  cattle  and  figures  were 
admirable  for  i)erfect  freedom  of  movement  and  truth  of  design.  There  is  a certain 
point  in  animal  i>ainting  which  is  not  easily  passed,  but  which  is  well  known  to  all  who 
liave  ])ractically  attempted  that  branch  of  art.  You  may  be  able  to  i)aint  a cow  or  a 
horse  quite  respectably  in  some  very  common  attitude,  which  the  animal  can  be  induced 
to  retain  for  several  minutes  at  a time,  but  it  does  not  follow  that  you  are  able  to  j)ut 
the  animal  in  one  of  those  highly  expressive  and  living  postures  which  do  not  remain 
unaltered  for  one  second.  To  do  this  you  must  have  some  memoi'yand  imagination, 
and  a knowledge  of  the  animal  far  surpassing  any  ordinary  accuracy.  All  the  great 
animal-painters  liave  this  power  and  continually  use  it,  the  great  amount  of  life  wliich 
fill  recognize  in  their  pictures  being  mainly  due  to  it.  Otto  Weber  has  it  in  the  same 
degi’ee  as  Troyon  and  the  Bonheui*s,  and  he  has  all  the  other  accomplishments  necessary 
to  the  i^roduction  of  a first-rate  cattle-jiicture  ; his  color  is  delicate  and  agreeable,  though 
he  is  not  a colorist  in  the  great  and  peculiar  meaning  of  the  word  ; and  his  chiaroscuro 
is  fairly  good,  although  he  is  not  in  any  way  remarkable  as  a master  of  tonality.  His 
sense  of  the  values  of  local  colors,  as  lights  and  darks,  is,  however,  exceptional,  the 
effect  of  the  picture  above  mentioned  being  altogether  due  to  it,  and  very  powerful. 
His  landscape  is  always  excellent,  and  was  shown  to  the  greatest  advantage  in  that  pic- 
ture, where  the  whole  country,  from  the  snows  on  the  high  mountains  to  the  vegetation 
in  the  immediate  foreground,  was  admirably  studied  and  most  faithfully  rendered.  The 
jihotograph  ....  is  from  a picture  of  Highland  cattle  just  going  to  pass  a ferry, 
and  it  will  be  seen  that  Otto  Weber,  in  spite  of  his  foreign  origin,  has  entered  as  com- 
pletely into  the  character  of  our  glorious  little  Highland  breed  as  the  best  of  onr 
native  painters.  I have  seen  seveial  other  pictures  by  the  same  painter,  and  a few 
etchings  of  hi.s,  which  confirm  my  favorable  opinion,  but,  on  the  whole,  consider  ‘ La 
premiere  neige  sur  TAliu*  his  most  complete  and  masterly  work,”  — Hamerton’s 
Painting  in  France. 

Webster,  Thomas,  K.  A.  (Brit.)  Born,  1800.  He  entered 
the  Royal  Academy  at  the  age  of  twenty,  receiving  in  1825  the  gold 
medal  of  the  Academy.  He  exhibited  at  the  Royal  Academy  as  early 
as  1823,  and  among  his  earlier  works  sent  to  that  gallery  and  to  the 
British  Institution  may  he  mentioned,  “ The  Gunpowder  Plot,”  “ The 
Sick  Child,”  “ Returning  from  the  Fair,”  “ The  Love-Letter,”  “ Read- 
ing the  Scriptures,”  “ The  Village  School,”  “ Anticipation,”  “ Punch,” 
“ The  Smile,”  “ The  Frown,”  “ Contrary  Winds,”  “ The  Dame’s 
School,”  “ Dothehoy’s  Hall,”  “ The  Battle  of  Waterloo,”  “ Good 
Hight,”  “The  Village  Choir,”  “ See-Saw,”  “Village  Gossips,”  etc., 
many  of  which  have  been  engraved.  In  1840  he  was  elected  an  As- 
sociate of  the  National  Academ}’,  and  Academician  in  1846.  He  .still 
contributes  regularly  to  its  exhibitions,  sending,  in  1869,  “ Poli- 
ticians” ; in  1871,  “Volunteers  at  Artillery  Practice”;  in  1872, 
“ Odd  or  Even  ” ; in  1873,  “An  Interested  Adviser”  ; in  1874,  “ The 
Wreck  Ashore”;  in  1876,  “Youth  and  Age”;  in  1877,  “The  Let- 
ter” ; in  1878,  a portrait  of  himself.  His  “ Going  into  School  ” and 
“ Dame’s  School  ” are  at  the  National  Gallery. 

He  was  placed  on  the  list  of  Honorary  Retired  Academicians  in 
1877. 

Weeks,  Henry,  R.  A.  (Brit.)  Born  in  Canterbury  (1807  - 1877). 
Studied  under  Chantrey  and  Behiies.  Was  elected  an  A.ssociate  of 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  341 


the  Royal  Academy  in  1850,  and  Academician  in  1863.  In  1852  he 
received  the  gold  medal  of  the  Society  of  Arts  for  the  best  treatise  on 
the  Fine  Art  section  of  the  Great  Exhibition.  He  was  appointed  Pro- 
fessor of  Sculpture  at  the  Royal  Academy  in  1869.  He  made  the 
first  portrait  bust  of  Queen  Victoria  executed  after  her  accession. 
Among  his  works  are  colossal  statues  of  Cranmer,  Latimer,  and  Rid- 
ley, which  form  part  of  the  Martyrs’  Monument  at  Oxford ; a statue 
of  Lord  Bacon,  at  Trinity  College,  Oxford  ; Dr.  Goodale,  at  Eton  ; 
Marquis  of  Wellesley,  at  the  India  House;  Lord  Auckland,  at  Cal- 
cutta ; and  one  of  the  groups  of  the  Albert  Memorial. 

Weeks,  E.  L.  (Am.)  Born  in  Boston,  1849.  He  studied  in 
I’Ecole  des  Beaux- Arts,  in  Paris,  and  in  the  ateliers  of  Gcrome  and 
Bonnat,  spending  his  professional  life  in  his  native  city  and  in  Cairo 
(Egypt),  Jerusalem,  Damascus,  and  Tangier's.  He  is  a member  of  the 
Boston  Art  Club,  elected  in  1874,  and  has  exhibited  at  the  Paris 
Salon  and  at  the  Paris  Societe  des  Amis  des  Arts.  Among  his  works 
are,  “ A Cup  of  Coffee  in  the  Desert,”  a group  of  Arabs  and  camels 
(belongmg  to  Ole  Bull),  “Pilgrimage  to  the  Jordan”  (owned  in 
Albany,  N.  Y.),  “A  Scene  in  Tangiers”  (in  the  collection  of  T G. 
Appleton),  “ Jerusalem  from  the  Bethany  Road,”  an  early  picture 
(belonging  to  Rev.  E.  L.  Clark  of  New  York),  “A  Moorish  Camel- 
Driver”  (in  the  Paris  Salon  of  1878),  “Alhambra  Windows”  (be- 
longing to  J.  B.  Richmond,  Boston),  “ An  Arab  Story-Teller”  (at  the 
Centennial  Exhibition  of  1876),  “ They  toil  not,  neither  do  they  spin’’ 
(exhibited  in  Boston),  etc. 

“ The  illustrations  of  Eastern  life  bj’  E.  L.  Weeks  are  striking  and  full  of  merit.  One 
of  them  — camels  and  their  riders  on  the  desert,  with  a boy  marching  along  playing  the 
flute  — has  the  charm  of  simplicity,  and  much  good  color.  The  camels  are  drawn  with 
understanding,  and  are  well  planted  on  their  feet,  while  the  figure  of  the  boy  is  naive 
and  in  good  action.  Hr.  Weeks  has  mode  immense  strides  the  last  season,  and  prom- 
ises to  rank  high  in  the  branch  of  art  he  has  chosen  to  follow.”  — Boston  Advertiser, 
January  17,  1S76. 

“ The  one  thing  to  be  noticed  in  all  the  paintings  of  this  artist  is  the  remarkable  skill 
he  displays  in  keeping  the  individuality  of  the  colors.  By  this  he  produces  most  charm- 
ing effects  of  color,  where  a less  skillful  artist  would  fail  to  make  the  picture  more  than 
interesting.  There  is  a decided  out-of-door  look  about  this  picture  [‘  Midsummer  ’],  too, 
which  tells  the  beholders  that  the  artist  painted  Nature  just  as  he  found  her.  ” — Boston 
Advertiser  November  20,  1877. 

“ Mr.  Weeks  has  taken  up  a field  for  study  in  which  he  finds  himself  almost  alone, 
and  has  given  everj'  effort  to  the  increase  of  his  knowledge  of  the  life  and  character  of 
these  people  who  toil  in  the  field.  For  years  Mr.  Weeks  has  traveled  in  the  East,  filling 
his  sketch-book  with  scenes  with  which  to  illustrate  his  experience  there.” — Boston 
Advertiser,  February  16,  1873. 

Wegener,  Johann  Friedrich  Wilhelm.  (Ger.)  Born  at  Dres- 
den, 1812.  Under  the  greatest  difficulties  and  with  no  instructor  he 
became  a portrait-painter,  by  which  means  he  supported  himself,  and 
as  soon  as  possible  took  up  animal  painting.  At  length  he  was  able 
to  go  to  the  Dresden  Academy  for  a short  time.  He  also  made  a 
student’s  journey  in  the  German  mountains  and  Upper  Italy.  As  an 


342  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


historical  painter  he  has  executed  altar-pictures  for  the  churches  in 
Gross-Graehlen  and  Lichtenstein.  At  the  National  Gallery,  Berlin, 
is  his  “ Wild  Buck.” 

Weir,  Robert  W.,  N.  A.  {Am.)  Born  at  New  Rochelle,  N.  Y., 
1803.  He  became  a professional  artist  at  the  age  of  twenty.  For 
several  years  he  painted  in  New  York,  and  spent  a long  time  in  study 
in  Florence  and  Rome.  In  1829  he  was  elected  a member  of  the 
National  Academy,  and  Professor  of  Drawing  in  the  Military  Acad- 
emy at  AYest  Point  in  1832,  a position  he  held  for  many  years.  Among 
Professor  AA^eir’s  earlier  works  are,  “ The  Bourbons’  Last  March,” 
“ Landing  of  Henry  Hudson,”  “ Indian  Captives,”  “ Christ  and  Nico- 
demus,”  “ Child’s  Evening  Prayer,”  “ Pier  at  Venice,”  “View  on  the 
Hudson,”  “ Taking  the  Veil,”  etc.  In  1867  he  sent  to  the  National 
Academy,  “ Heaving  the  Lead,”  in  water-color,  and  “ The  Evening  of 
the  Crucifixion”  ; in  1869,  “Virgil  and  Dante  crossing  the  Styx”  ; 
in  1874,  “The  Portico  of  the  Palace  of  Octavia,  Rome”  ; in  1877, 
“ The  Belle  of  the  Carnival  ” and  “ Our  Lord  on  the  Mount  of 
Olives”  ; in  1878,  “ Indian  Falls.”  Professor  AVeir  is  an  Associate 
Member  of  the  AVater-Color  Society,  but  not  a frequent  contributor 
to  its  exhibitions.  He  has  at  present  (1878)  a studio  near  Hoboken, 
on  the  Hudson,  in  which  are  “ Christ  in  the  Garden,”  “Titian  in  his 
Studio,”  and  a nearly  completed  picture,  “ Columbus  before  the 
Council  of  Salamanca.”  His  “Taking  the  A’eil  ” (belonging  to  A.  C. 
Alden)  was  in  the  Centennial  Exhibition  of  1876  ; his  “ Psestum  hy 
Moonlight  ” and  “ Last  Communion  of  Henry  Clay  ” (water-color) 
were  in  the  Johnston  Collection.  His  “Embarkation  of  the  Pil- 
grims ” is  in  the  rotunda  of  the  Capitol  at  AA'ashington. 

**  Weir  excels  in  cabinet  genre  pictures.  We  recall  one  representing  a child  saying  its 
evening  prayers  at  its  grandmother’s  knee  ; a most  graceful,  simple,  expressive  little 
work,  the  still-life  of  Flemish  authenticity.  Some  of  his  landscapes  and  portraits  are 
excellent.”  — Tuckerman’s  Book  of  the  Artists. 

Weir,  John  F.,  N.  A.  (Am.)  Son  of  Robert  W.  Weir.  Born  at 
AVest  Point,  N.  Y.,  1841.  He  received  his  education  under  the  in- 
structors of  the  Military  Academy  there,  and  began  painting  in  the 
studio  of  his  father.  In  1861  he  took  a studio  of  his  own  in  the  Tenth 
Street  Building,  New  York.  He  was  elected  a member  of  the  Artists’ 
Fund  Society  in  1864,  and  full  member  of  the  National  Academy  in 
1866.  He  went  to  Europe  in  1868,  remaining  about  a year  in  the 
different  art-centers.  In  1869  he  was  elected  by  the  Corporation  of 
Yale  College  to  fill  the  chair  of  Director  of  the  Yale  School  of  Fine 
Arts,  a position  which  he  still  holds.  In  1876  he  was  appointed  Judge 
of  the  Fine  Arts  at  the  Centemiial  Exhibition  at  Philadelphia,  and 
wrote  the  official  report  of  the  same,  which  is  so  frequently  quoted  in 
these  pages.  His  professional  life  has  been  spent  in  New  Haven  and 
New  York.  His  first  work  was  a “ Sunset  at  West  Point,”  painted  at 
the  age  of  seventeen.  Among  the  better  known  of  his  pictures  are. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  343 


“The  Culprit  Fay,”  “ The  Christmas  Bell,”  “The  Gun  Foundry” 
(belonging  to  R.  P.  Parrott),  which  was  exhibited  at  the  National 
Academy,  New  York,  the  Paris  Exposition  of  1867,  and  Philadelphia 
in  1876.  “ Forging  the  Shaft  ” (at  the  National  Academy,  New  York) 
was  burned  while  in  the  possession  of  H.  W.  Derby.  “ The  Con- 
fessional” (belonging  to  Justus  Hotchkiss  of  New  Haven)  was  at 
Philadelphia  in  1876;  “Venice”  is  in  the  collection  of  Jno.  W. 
Jewett;  “Tapping  the  Furnace”  and  “An  Artist’s  Studio ” belong 
to  Cyrus  Butler.  A replica  of  “ Forging  the  Shaft,”  painted  in  1868, 
was  sent  to  the  Paris  Exposition  of  1878. 

“ Weir’s  ‘West  Point  Foundry,’  representiu^  the  casting  of  a gun,  is  his  best-known 
and  most  successful  work.  He  has  spared  no  pains  to  render  it  authentic,  the  figures 
are  modeled  from  some  of  the  athletes  of  the  establishment,  the  details  are  exact,  and 
the  extremely  difficult  task  of  eliminating  all  the  light  on  the  picture  from  the  molten 
metal  passing  from  the  caldron  into  the  mold  has  proved  a complete  success.”  — 
Tuckerman’s  Book  of  the  Artists. 

“ Professor  Weir  contributes  a forest  interior  [Artists’  Fund  Exhibition  of  1S7S],  excel- 
lent in  what  may  be  termed  its  ideal  reality,  details  being  not  sacrificed  to  sentiment, 
nor  sentiment  to  objective  force  ; excellent  also  in  the  pleasantness  of  the  light  that 
creeps  and  glows  through  the  foliage  or  on  the  pearly  bark  of  the  trees,  and  in  the  quiet 
harmony  and  delicious  purity  of  the  tints.”  — New  York  Evening  Post,  January  15,  1878. 

Weir,  Julian  Alden.  (Am.)  Son  of  Robert  W.  Weir,  N.  A., 
and  younger  brother  of  John  F.  Weir,  N.  A.  Inheriting  much  of 
the  family  talent  for  art,  he  has  a studio  in  New  York,  devoting  him- 
self particularly  to  portrait-painting.  He  exhibits  at  the  National 
Academy,  is  a member  of  the  Society  of  American  Artists,  and  sent 
to  its  first  exhibition  several  portraits  and  “An  Interior.”  He 
•sent  from  Paris  to  the  National  Academy,  New  York,  in  1875,  “A 
Brittany  Interior”;  in  1877,  “At  the  Water-Trough,”  “Brittany 
Peasant-Girl,”  “ Brittany  Washerwomen,”  and  “ Study  of  an  Old 
Peasant.”  He  sent  “A  Breton  Interior”  to  the  Paris  Exposition  of 
1878. 

[No  response  to  circular.] 

“Mr.  Weir  has  a wonderful  delicacy  in  the  flesh  tones,  where  the  highest  light 
graduates  into  tlie  slightest  half-tints  with  singular  purity.  An  instinctive  feeling  has  a 
great  deal  to  do  with  the  softness  and  purity  of  the  colors,  but  his  knowledge  is  also 

very  unusual His  heads  have  attracted  great  attention  in  Paris,  and  the  look  of 

individuality  in  his  faces,  together  with  his  other  good  qualities,  promises  for  him  great 
success  as  a portrait-painter.”  — Journal,  April,  1878. 

Wells,  Henry  T.,  R.  A.  (Brit.)  Born  in  London,  1828.  He 
began  his  career  as  a painter  of  miniatures,  in  which  branch  of  art  he 
won  decided  distinction,  exhibiting  at  the  Royal  Academy  as  early  as 
1845.  About  1860  he  began  the  execution  of  larger  canvases,  con- 
tributing regularly  to  the  Royal  Academy,  and  numbering  among  his 
sitters  many  distinguished  people.  He  was  elected  an  Associate  of 
the  Royal  Academy  in  1866,  and  Academician  in  1870.  Several  of 
his  portraits  and  portrait  groups  were  at  the  Centennial  Exhibition 
at  Philadelphia  in  1876,  and  at  Paris  in  1878. 


344  ARTISTS  OF  TEE  NINETEENTH  CENTURY. 


“ We  (ire  glad  to  see  that  Mr.  Wells  varies  the  practiee  of  portraits  by  landscapes,  a 
union  of  styles  for  which  he  can  easily  find  great  precedents.  His  ‘ Farmyard  at 
Evening  ’ [R.  A.,  1865]  has  an  impressive  sobriety  of  tone  which  wants  more  gradation 
to  achieve  the  effect  aimed  at  by  the  artist.  The  trees  are  well  discriminated.  ” — Pal- 
grave’s  Essays  on  Art. 

“ H.  T.  Wells  always  employs  sound  taste  in  arrangement,  and  is  often  very  success- 
ful in  management  of  color.”  — Art  Journal,  July,  1873. 

Wells,  Johanna  Mary.  {Brit.)  Wife  of  Henry  T.  Wells  (ru'e 
Boyce).  (1831-1861.)  She  received  her  art  education  in  London, 
and  later,  for  a short  time,  under  Couture  in  Paris.  She  studied  also 
in  Italy,  and  was  married  in  Rome  in  1858.  “ Elgiva,”  her  first  pic- 

ture, was  exhibited  at  the  Royal  Academy  in  1855  ; *•  The  Boys’ 
Crusade,”  in  1860 ; “ Bo-Peep,”  “ The  Heather  Gatherers,”  and 
“ Do  I like  Butter  ? ” in  1861. 

Wencker,  Joseph.  {Fr.)  Born  at  Strasbourg.  Prix  de  Rome, 
1876.  Medal  in  1877.  Pupil  of  Gerome.  A t the  Salon  of  1877  he 
exhibited  a portrait  of  Mile.  Marthe  G.  ; in  1876,  “ Stoning  of  St. 
Stephen.” 

Werner,  Anton  von.  (Ger.)  Born  at  Frankfort-on-Oder,  1843. 
Director  of  the  Royal  Academy  of  Berlin.  Court  painter.  Oflicer  of 
the  Order  of  the  Crown  of  Italy,  Knight  of  various  orders,  and  the 
recipient  of  many  medals.  Member  also  of  the  Academies  of  V enice 
and  of  Caraccas  (Venezuela).  At  the  Royal  Academy  of  Berlin,  in 
1876,  he  exhibited  “The  Fe.stival,”  “ Schneewittchen,  die  7 Raben  ” 
(all  sketches  of  decorative  works),  and  a portrait  of  a man.  Among 
his  pictures  are,  “Luther  at  the  Diet  of  Worms,”  “ Moltke  before 
Paris,”  “ Moltke  at  Versailles,”  “ Proclamation  of  the  German  Em- 
pire in  the  Galerie  des  Glaces  at  Versaille.s,”  “Irregang,”  and  “Don 
Quixote  at  the  Goatherd’s.”  He  has  illustrated  the  works  of  T.  V. 
von  Scheffel.  For  the  “ Trumpeter  of  Seckengen  ” he  made  thirty- 
nine  drawings  ; these  are  much  admired,  and  well  represent  the  spirit 
of  the  time  they  illustrate. 

“Anton  von  Werner,  although  still  a young  man,  is  already  Director  of  the  Royal 
Academy  at  Berlin.  He  is  one  of  the  first  of  living  historical  painters.  To  a correct 
eye  for  color  and  drawing,  he  adds  .a  gmndeur  of  style  very  appropriate  in  an  artist  who 
is  court  painter  for  the  Germanic  Empire.  Some  of  his  decorative  works  are  character- 
ized by  a happy  combination  of  breadth,  harmonious  color,  and  energetic  action.  But 
the  work  that  has  added  most  to  his  celebrity  is  a picture  which  illustrates  the  jirocla- 
mation  of  the  Gennan  Empire  in  the  sumptuous  Galerie  des  Glaces  at  the  Palace  of 
Versailles.”  — Benjamin’s  Contemporary  Art  in  Europe. 

West,  Peter  B.  {Brit.-Am.)  Born  at  Bedford,  1833.  Studied 
in  his  native  city,  and  in  the  Lees  School  of  Arts  in  London.  V as 
also  a pupil  of  his  father,  Robert  West,  considered  one  of  the  best 
judges  of  painting  in  the  midland  counties  of  England.  He  followed 
his  father’s  profession,  that  of  picture-restorer,  in  New  Orleans  and 
other  American  cities,  finally  turning  his  attention  to  animal  painting 
with  considerable  success.  His  studio  at  present  (1878)  is  in  Cleve- 
land, Ohio,  where  he  has  painted  many  of  the  fine  horses  of  that 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  345 


section  of  the  country.  Among  his  works  may  be  mentioned,  “ Por- 
trait of  Lady  Kate,”  a trotting-horse  owned  by  F.  Rockefellow;  “ Bull- 
Fight,”  owned  by  Dr.  D.  H.  Beckwith,  and  “ Group  of  Game,”  the 
property  of  J.  H.  Clark,  all  of  Cleveland.  To  the  Centennial  E.\bi- 
bition  at  Philadelphia,  in  1876,  he  contributed  a genre  picture,  still- 
life,  now  owned  by  Mr.  Grant  of  Foxburg,  Pa. 

Westmacott,  Richard,  R.  A.  (Brit.)  (1799-  1872.)  Son  of 
Sir  Richard  Westmacott,  R.  A.,  from  whom  he  inherited  his  artistic 
talent,  and  received  his  first  instruction  in  art.  He  entered  the 
schools  of  the  Royal  Academy  in  1818.  In  1820  he  went  to  Italy  for 
the  purpose  of  study,  remaining  six  years.  In  1826  he  sent  his  first 
work  to  the  Royal  Academy,  a marble  statue  of  a girl  holding  a 
bird.  He  exhibited  “ The  Reaper  ” in  1831,  and  the  “ Cymbal-Player  ” 
(belonging  to  the  Duke  of  Devonshire)  in  1832.  About  this  time 
he  executed  in  bas-relief,  “ Narcissus,”  “ Venus  and  Ascanius,”  “ Venus 
instructing  Cupid,”  and  “ Bluebell  and  Butterfly.”  In  1838  he  was 
elected  an  Associate  of  the  Royal  Academy,  and  Academician  in  1849. 
Among  his  later  works  are,  “ David,”  “ Resignation,”  “ Prayer,”  “ An- 
gel Watching,”  and  busts  of  Earl  Russell,  Sydney  Smith,  etc.  West- 
macott was  the  author  of  several  valuable  works  upon  art  subjects, 
one  of  the  most  important  being  his  “Hand-Book  of  Ancient  and 
Modern  Sculpture,”  published  in  1864. 

“ As  a sculptor,  Richard  Westmacott’s  works  generally  must  rank  below  those  of  his 
father.  Yet  they  are  by  no  means  without  merit,  graceful  rather  than  powerful,  but 
manifesting  careful  study  and  matured  knowledge-  He  was  learned  in  his  art,  and  ac- 
cepted as  an  authority  on  all  matters  connected  with  it.”  — Art  Journal,  June,  1872. 

Wharton,  P.  F.  (Am.)  Born  at  Philadelphia,  1841.  Received 
his  art  education  in  the  Pennsylvania  Academy  of  Fine  Arts,  later, 
going  abroad  and  studying  in  Dresden  and  in  the  Atelier  Suisse 
in  Paris.  Many  of  his  earlier  works  are  in  the  possession  of  Mrs. 
John  Lardner  and  Joseph  W.  Drexel  of  Philadelphia,  where  the  better 
part  of  his  professional  life  has  been  spent.  To  the  Centennial  Exhi- 
bition of  1876  he  sent  his  most  important  work,  for  which  he  received 
a medal  It  is  entitled  “ Perdita  at  the  Sheep-Shearing  Festival,”  a 
scene  from  “WinteFs  Tale.”  His  last  picture  (1878),  “ Waiting  for 
the  Parade,”  belongs  to  D.  C.  W.  Smith  of  Philadelphia.  Smaller 
and  less  elaborate  works  are  owned  in  New  York  and  elsewhere. 

Whistler,  James  Abbott  M'Neill.  (Am.)  According  to  the  regis- 
ter of  St.  Anne’s  Church,  Lowell,  Mass.,  he  was  born  in  that  city  in  1834, 
but  was  taken  when  a child  to  Russia,  where  his  father  was  emplo3md 
as  an  engineer.  When  twelve  years  old  this  artist  returned  to  America, 
and  was  educated  at  West  Point.  About  1855  he  removed  to  England. 
Later,  he  studied  two  j'ears  under  Gleyre  in  Paris.  He  next  went 
to  London,  where  he  settled.  He  has  exhibited  his  works  at  the 
Royal  Academy,  the  Dudley  and  Grosvenor  Galleries,  the  Paris  Sa- 
lons, and  at  The  Hague.  He  made  an  exhibition  of  his  works  in  Lon- 
15* 


346  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


don  in  1874,  which  attracted  much  attention.  To  the  Academy  he 
sent,  in  1863  (in  oils),  “ The  Last  of  Old  Westminster  ” and  “ Westmin- 
ster Bridge”  ; in  1864,  “ Wapping”  ; in  1865,  “ The  Golden  Screen,” 
“Old  Battersea  Bridge,”  and  “The  Little  White  Girl”;  in  1867, 
“ Symphony  in  White,  No.  3 ” and  “ Sea  and  Rain”  ; in  1870,  “ The 
Balcony  ” ; etc.  In  1877  he  exhibited  at  the  Grosvenor  Gallery,  eight 
pictures,  — a portrait  of  Mi’.  Carlyle,  “ A Nocturne  in  Blue  and  Gold,” 
“ A Nocturne  in  Blue  and  Silver,”  “ A Nocturne  in  Black  and  Sil- 
ver,” “ An  Arrangement  in  Black  ” (representing  Mr.  Irving  as  Philip 
II.),  “ A Harmony  in  Amber  and  Black,”  and  “ An  Arrangement  in 
Brown.”  To  the  Grosvenor  Gallery,  in  1878,  he  sent  “ Variations 
in  Flesh-Color  and  Green,”  and  others.  One  of  his  earlier  works, 
“ Mere  Gerard,”  belongs  to  A.  C.  Swinburne. 

There  has  been  of  late  (November,  1878)  a decision  in  a suit  for 
damages  brought  by  Mr.  Whistler  against  Mr.  Ruskin.  It  was 
grounded  upon  the  following  passage,  which  appeared  in  “ Fors  Clavi- 
gera,”  which  Mr.  Ruskin  edits  : — 

“ For  Mr.  Whistler's  own  sake,  no  less  than  for  the  protection  of  the  purchaser.  Sir 
Coutts  Lindsay  ought  not  to  have  admitted  works  into  the  gallery  in  which  the  ill-edu- 
cated conceit  of  the  artist  so  nearly  approached  the  aspect  of  willful  imposture.  I have 
seen  and  heard  much  of  cockney  impudence  before  now,  but  never  expected  to  hear  a 
coxcomb  ask  200  guineas  for  flinging  a pot  of  paint  in  the  i)ublic’s  face  ” 

Iilr.  Ruskin  claimed  this  to  be  a fair  and  bona-fide  criticism  upon  a 
painting  which  had  been  exposed  to  public  view.  The  decision  of  the 
court  gave  Mr.  Whistler  one  farthing  damages  and  no  costs.  The 
following  is  a portion  of  Mr.  Whistler’s  testimony  before  the  court : — 

“Before  the  Nocturnes  entered  the  Grosvenor  G.allery  they  were  sold,  except  one. 
One  was  sold  to  the  lion.  Percy  Wyndham  for  200  guine;is.  I had  a commission  for  one 
of  150  guineas,  and  another  I sold  for  200  guineas.  Since  the  publication  of  this  criticism 
I have  not  been  able  to  sell  iny  pictures  at  the  old  price.  As  to  the  naiue  of  ‘ Nocturne,* 
it  means  an  arrangement  of  lines,  form,  and  color,  with  some  incident  or  object  of  nature 
in  illustration  of  my  theory.  The  ‘ Nocturne  in  Blue  and  Gold  ’ I knocked  off  in  a coujde 
of  days.  I painted  the  i)icture  in  one  day,  and  finished  it  off  the  next  day.  I do  not  ask 
200  guinea.s  for  a couple  of  days*  work  ; the  picture  is  the  result  of  tlie  studies  of  a life- 
time  I do  not  put  my  pictures  in  a place  to  mellow,  but  I expose  them  in  the  open 

air  to  dry  as  I go  on  with  my  work  ; I think  that  is  a good  thing,  and  if  I were  a Pro- 
fessor I would  recommend  it  to  my  pupils.** 

The  “ Arraugement  in  Black  and  Gold,”  the  artist  explains  as  a 
night  view  of  Cremorne  Gardens  with  the  firework.s,  — hence  its 
name.  The  “Nocturne  in  Blue  and  Silver”  is  “A  View  of  the 
Thames  at  Old  Battersea  Bridge.”  During  the  entire  career  of  this 
artist  he  has  been  in  the  habit  of  etching.  He  received  a gold  medal 
at  The  Hague  for  works  in  this  manner.  A collection  of  his  etchings 
is  in  the  library  of  Her  Jlajesty  at  Windsor  Castle,  and  another  col- 
lection is  in  the  hands  of  the  authorities  of  the  British  Museum.  The 
portrait  of  Mr.  Carlyle  has  been  engraved,  and  the  mass  ot  the  artist’s 
proofs  were  sold  by  subscription. 

**  ‘ Old  Battersea  Bridge,’  with  a mud  shore  and  a river-side  group,  boats  ready  for 
launching,  a gray  sky,  a grayer  river,  the  sidelong  bridge  crossed  by  carts  and  passen- 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  347 


gers,  shows  one  way  of  treating  these  simple  materials  to  perfection,  whether  composi- 
tion, tone,  truth,  or  originality  is  in  demand.  ‘ Lange  Lizen  of  the  Six  Marks  ’ is  the 
most  delightful  piece  of  color  on  the  walls  of  the  Academy  this  year.”  — Wilu.\m  M. 
Rossetti,  in  1874. 

“Whistler’s  freaks  of  coloring  wei'e  original,  and  his  Tiepolo-like  touch' effective  ; but 
his  pictures  were  rather  suggestive  of  iiower  than  complete  art.”  — Jarves,  Art  Thoughts. 

“ Every  touch  here  has  been  struck  m apparently  with  that  directness  which  has  long 
made  Velasquez  the  envy  of  all  artists  ; the  colored  paper  labels  on  the  right,  above  the 
figure,  should  be  especially  noticed  ; and  we  may  fairly  suppose  that  if,  in  this  picture 

Die  Lange  Lizen  ’]  and  in  the  ‘ View  of  Wapping  ’ near  it,  the  figures  had  been  free 
from  some  obvious  negligences,  Mr.  Whistler  might  have  obtained  from  a jury  of  oil- 
painters  the  first  prize  for  mastery  over  the  technicalities  of  his  profession.  ” — Pal- 
grave’s  Essays  on  Art,  1864. 

“ Whistler  is  known  by  his  etchings  and  his  paintings  ; the  former  receive  nearly  un- 
qualified praise,  the  latter  have  been  alternately  abused  and  lauded,  but  even  his  sever- 
est critics  seem  inclined  in  these  days  to  allow  Whistler  exceptional  achievements, 
however  fitful  or  marred  in  color.”  — Mrs.  Tvtler's  Modern  Painters,  1873. 

“ Whistler  as  a painter  has  the  rare  faculty  of  true  oil-sketching,  selecting  with  cer- 
tainty the  most  essential  truths He  seems  insensible  to  beauty,  which  is  a grievous 

defect  in  any  artist ; but  his  work  is  redeemable  from  vulgarity  by  strange  sensitiveness 
to  color  and  character.  It  is  audacious,  almost  impudent  in  manner  ; but  it  is  not  effec- 
tive, although  it  looks  so  at  first ; and  even  its  audacity  is  based  on  directness  and  sim- 
plicity of  color.”  — Hamerton’s  Thottghts  about  Art. 

“The  most  finished  and  perfect  specimens  of  Mr.  Whistler’s  artistic  powers  are  to  be 
found  in  the  collection  of  etchings  and  engravings  in  di  y point.  For  some  time  amateui-s 
in  this  branch  of  art  have  been  acquainted  with  the  views  of  the  Thames  executed  by 
Mr.  Whistler.  We  can  think  of  no  work  in  which  genius,  of  a certain  kind,  is  more  de- 
cisively manifested.  The  views  of  shipping  and  river-bank  reveal  the  closest  study  of 
the  effects  to  be  seen  in  and  about  London.”  — Art  Journal,  August,  1874. 

“ ‘ The  Girl  in  White,’  exhibited  in  Baltimore  in  1876,  is  especially  marked  by  Whis- 
tler’s idiosyncrasies It  cannot  be  doubted  that  his  mannerisms,  which  have  the 

appearance  of  affectation,  are  not  in  miison  with  the  spirit  of  true  art.”  — -4r(  Journal, 
March,  1876. 

“ Whistler’s  ‘ Nocturnes,’  ‘ Variations,’  and  ‘ Arrangements  ’ are  all,  we  have  not  the 
slightest  doubt,  brimful  of  talent,  but  it  is  talent  applied  to  the  interpretation  of  a 
school  of  art  which  we  confess  ourselves  utterly  unable  to  comprehend.  Napoleon  I. 
said  of  Goethe  that  he  was  a great  genius  who  had  something  to  say,  but  who  had  not 
succeeded  in  making  himself  understood.  Mr.  Whistler  is  assurediy  gifted  with  genius, 
but  he  has  scarcely  to  our  thinking  become  articulate.”  — London  Daily  Telegraph, 
May  6,  1878. 

“ Mr.  Whistler  has  his  own  abilities,  his  own  aims,  and  his  own  admirers,  and  it  is  no 
use  denying  the  one,  arguing  about  the  second,  or  abusing  the  third.  He  has  a right  to 
his  place  among  the  originals  of  his  time  ; and  it  is  well  he  should  find  room  and  verge 
enough  in  the  Grosvenor  Gallery.”  — London  Times,  May  2,  1878. 

White,  John  Blake.  (Am.)  Bom  in  South  Carolina  (1781  - 
1859).  He  studied  art  in  London  for  four  years  in  the  early  part  of 
the  century  under  Benjamin  West.  Returning  to  America,  he  settled 
in  Charleston,  S.  C.,  where  he  studied  and  practiced  law,  painting 
only  as  an  amateur.  He  received,  while  still  a young  man,  from  the 
South  Carolina  Institute,  a medal  for  the  “ Best  Historical  Painting 
in  Oils.”  Many  of  Mr.  White’s  pictures  are  still  in  the  possession  of 
various  members  of  his  family.  Dr.  Octavius  A.  White  of  New 
York  owns  his  “ General  Marion  inviting  the  British  Officer  to  Din- 


348  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


ner  in  the  Pedee  Swamp  ” (engraved  by  the  Apollo  Association  of 
New  York),  his  “Poverty  and  Love,”  “The  Arrival  of  the  Mail,” 
“ Macbeth  and  Banquo  on  the  Heath,”  and  “ The  Brand  of  Sweet 
Water.”  Col.  T.  G.  Wliite  of  Beaufort,  S.  C.,  owns  his  “ Grave- 
Robhers  ” and  “ Mrs.  Motte  urging  General  Marion  to  bum  her  Resi- 
dence in  order  to  dislodge  the  British.”  A.  J.  White  of  Charleston 
owns  “ The  Taking  of  the  White  Veil”  ; J.  E.  Holmes  of  South  Caro- 
lina, “ The  Interior  of  Old  St.  Philip’s  Church,  Charleston”  and  “The 
Burning  of  Old  St.  Philip’s  Church.”  Elias  Ball  of  South  Carolina 
owns  his  “ Conrad  and  Gulnare  ” ; J.  J.  B.  White  of  Mississippi,  “ The 
Battle  of  Fort  Moultrie.”  Among  his  other  works  are,  “ The  Rescue 
of  the  American  Prisoners  by  Sergeant  Jasper  and  John  Newton” 
(engraved  by  the  Apollo  Association),  “ Massacre  of  American  Prison- 
ers by  the  English  and  Indians  at  Frenchtown  ’’  (painted  in  1813), 
“ The  Battle  of  Eutaw  Springs  ” (presented  to  the  State  of  South 
Carolina),  “ The  Martyrdom  of  Hayne,”  “ General  Maiion  and  his 
Men  fording  the  Pedee,”  “ The  Battle  of  New  Orleans  ” (painted  in 
1816),  “ Death  of  Osceola,”  “ The  Capture  of  Andre,”  and  “ The  Un- 
furling of  the  United  States  Flag  in  the  City  of  Mexico”  (presented 
to  Andrew  Jackson,  and  mentioned  by  him  in  his  will).  Among  the 
more  important  of  Mr.  White’s  portraits  are  those  of  Col.  Charles  C. 
Pickney  (owned  by  John  W.  Chandler,  New  York),  Dr.  Matthew  0. 
Dri.scoll  (owned  by  the  Charleston  Medical  College),  Hon.  Keating 
Simmons,  Josiah  Smith,  Edward  R.  Rutledge,  South  Carolina,  and 
other  prominent  men. 

Mr.  White  was  also  distinguished  for  his  literary  attainments, 
having  written  several  successi'ul  dramas,  essays,  etc.  He  was  re- 
garded as  the  pioneer  of  Southern  literature  and  art,  and  called  by 
Tuckerman  “ the  old  American  master.” 

White,  Edwin,  N.  A.  (Am.)  (About  1817  - 1877.)  He  began 
to  paint  when  not  more  than  twelve  years  of  age.  Studied  in  Paris, 
Rome,  Florence,  and  Diisseldorf,  going  abroad  for  that  purpose  in 
1850  and  ’69.  His  works  are  largely  historical  in  character.  Among 
them  may  be  mentioned,  “ Washington  resigning  his  Commission  ” 
(purchased  by  the  State  of  Maryland  for  $ 6,000,  and  now  .at  Annapo- 
lis), “ Washington  reading  the  Burial  Service  over  the  Body  of  Brad- 
dock,”  “ The  Requiem  of  De  Soto,”  “ Pocahontas  informing  Smith  of 
the  Conspiracy  of  the  Indians  ” (painted  for  General  Kearney),  “ Age’s 
Reverie”  (belonging  to  the  West  Point  Military  Academy),  “Luther’s 
Vow,”  “The  Death-Bed  of  Luther,”  “Milton’s  Visit  to  Galileo,” 
“ The  Old  Age  of  Milton  ” (bought  by  the  Art  Lmion),  “ Giotto 
sketching  the  Head  of  Dante,”  “ The  Evening  Hymn  of  the  Huguenot 
Refugees,”  “ The  First  New  England  Thanksgiving,”  “ The  First 
Printing  of  the  Bible,”  “ Sabbath  of  the  Emigrants,”  “ Major  Ander- 
son raising  the  Flag  at  Fort  Sumter,”  “Country  Studio,”  “Fisher- 
Boy,”  “ Strawberry-Girl,”  etc.  By  his  will  he  left  to  the  New  L ork 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  349 


Metropolitan  Museum  of  Art  “ The  Antiquary  ” ; “ Leonardo  da 
Vinci  and  his  Pupils”  he  bequeathed  to  Amherst  College  ; and  his 
last  and  unfinished  work,  “ The  Signing  of  the  Compact  on  the 
Mayflower,”  to  Yale  College. 

“ Wliite  lias  good  taste,  pure  sentiment,  industry,  and  a correct  intellectual  apprecia- 
tion of  historical  subjects.  There  is,  however,  nothing  great  or  original  in  his  art,  al- 
though as  a whole  it  is  truer  and  more  effective  than  much  of  that  of  his  German 
teachers,  owing,  perhaps,  to  his  studies  in  Italy  ; as  a colorist  he  decidedly  excels  them.  ” 
— Jauves,  Art  Idea. 

“ White’s  knowledge  of  art  was  very  gi'eat,  and  he  was  an  assiduous  student.  His  aim 
was  the  illustr.ation  of  historical  subjects,  and  if  he  was  not  always  successful  none  can 
dispute  the  earnestness  of  his  effort.”  — Art  Journal,  August,  1877. 

Wliitehouse,  James,  N.  A.  (Am.)  Born  at  Wallingford,  Vt., 
1803.  He  began  the  study  of  art  about  1826,  having  no  regular  mas- 
ter, but  receiving  occasional  instruction  from  Alexander  Roberston, 
Colonel  Trumbull,  Professor  Morse,  and  William  Dunlap.  When  a 
student  of  the  schools  of  the  National  Academy,  in  1827,  the  silver 
medal  for  the  best  drawing  from  the  antique  was  awarded  him.  He 
never  had  the  advantage  of  foreign  study.  He  was  elected  a full 
member  of  the  National  Academy  in  1833,  and  has  spent  his  pro- 
fessional life  in  the  city  of  New  York,  painting  in  Washington, 
D.  C.,  in  the  winters  of  1844-46.  He  has  devoted  himself  to  por- 
trait-painting, executing  perhaps  a larger  number  of  works  of 
that  kind  than  any  other  living  American  artist.  His  portrait  of 
Silas  Wright,  now  in  the  GovernoPs  Room,  City  Hall,  New  York, 
taken  after  death,  and  under  many  difficulties,  attracted  much  atten- 
tion when  completed.  He  made  the  design  for  the  mezzotint  engrav- 
ing, “ Henry  Clay  addressing  the  Senate,”  published  by  Anthony, 
Edwards  & Co.  about  1846,  and  well  known  throughout  the  United 
States. 

Whittredge,  Worthington,  N.  A.  (Am.)  Born  in  the  State  of 
Ohio,  1820.  He  follow’ed  mercantile  pursuits  in  Cincinnati,  but  soon 
abandoned  business  for  the  profession  of  art.  Was  at  first  a portrait- 
painter  in  Cincinnati.  In  1850  he  went  to  Europe,  studying  in  the 
galleries  of  London  and  Paris.  In  Diisseldorf  he  became  a pupil  of 
Andreas  Achenbach,  living  in  that  city  for  three  years.  He  studied, 
later,  in  Belgium  and  Holland,  and  went  to  Rome  in  1855,  remaining 
until  he  finally  settled  in  New  York,  in  1859,  being  elected  National 
Academician  the  same  year.  In  1866  he  made  a sketching-tour  to 
the  Far  West  of  America,  his  “ View  of  the  Rocky  Mountains  from 
the  River  Platte,”  belonging  to  the  Century  Club,  being  one  of  the 
results  of  this  trip.  In  1874  he  was  elected  President  of  the  Acad- 
emy of  Design,  holding  the  office  for  three  years.  Among  Whit- 
tredge’s  works  are,  “ Trout  Brook  at  Milford  ” (belonging  to  J.  H. 
Sherwood,  seen  in  the  National  Academy,  1869)  ; “Trout  Brook” 
(belonging  to  H.  G.  Marquand)  ; and  “ Sangre  di  Christo  Mountains, 
Colorado  ” (belonging  to  W.  B.  Shattuck)  ; in  1870,  “ Evening  on 


350  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


the  Delaware  ” ; in  1871,  “ On  the  Hudson  ” ; in  1872,  “ A House  hy 
the  Sea”  and  “Christmas  Eve,  Italy  ” ; in  1874,  “ The  Camp-Meet- 
ing,” “The  Morning  Stage,”  and  “After  the  Rain”;  in  1875, 
“ Autumn  on  the  Delaware  ”;  in  1876,  “ Morning  in  the  Woods  ” and 
“Evening  in  the  Woods”;  in  1877,  “Paradise,”  Newport,  R.  I. 
“ The  AVindow,”  by  AVhittredge,  belongs  to  R.  L.  Stuart ; “ A Hun- 
dred Years  Ago,”  to  R.  M.  Olyphant  ; “The  Pilgrims  of  St.  Roche,” 
to  W.  B.  Smith.  His  “ Old  Hunting-Ground,”  the  property  of  J.  W. 
Pinchot,  and  his  “ Rhode  Island  Coast,”  the  property  of  A.  il.  Coz- 
zens,  were  at  the  Paris  Exposition  of  1867.  To  the  Paris  Exposition 
of  1878  he  sent  “A  Forest  Brook  ” and  “ The  Platte  River.” 

“ Whittredge  is  a progressive  artist.  He  acqnired  with  the  dexterity  some  of  the 
mannerism  of  the  Diisseldorf  school ; hut  constant  and  loving  study  of  nature  since  his 
return  from  abroad  has  modified  this  habitude.  He  is  more  original,  and  applies  his 
skill  with  deeper  sentiment.  Conscientiously  devoted  to  his  art,  for  manly  fidelity  to 
the  simple  verity  of  nature,  no  one  of  our  painters  is  more  consistently  distinguished 
than  Worthington  Whittredge."  — Tuckerman’s  Bookof  the  Artists. 

“ Mr.  Whittredge  contributed  his  ‘ Rocky  Mountains  from  the  Platte  River,’  ‘ A House 
by  the  Sea,’  ‘A  Hundred  Years  Ago,’  ‘Twilight  on  the  Shawangunk  Mountains,’ and 
' The  Old  Hunting-Grounds,’  — the  latter  are  especially  admirable  exam) lies  of  his  free 
nervous  style,  and  of  his  felicitous  treatment  of  wood  interiors.  Mr.  Whittredge’s  pic- 
tures of  forest  solitudes,  with  their  delicate  intricacies  of  foliage,  and  the  sifting  down  of 
feeble  rays  of  light  into  depths  of  shade  are  always  executed  with  rare  skill  and  feeling. 
His  style  is  well  suited  to  this  class  of  subjects  : it  is  loose,  free,  sketchy,  void  of  all 
that  is  rigid  and  formal  It  evinces  a subtle  sympathy  with  the  suggestive  and  evanes- 
cent qualities  of  the  landscape.  But  in  his  treatment  of  the  open  sky  this  artist  is  less 
happy.  There  is  sometimes  apparent  a slight  crudeness  in  his  rendering  of  this  feature 
of  nature  that  is  open  to  unfavorable  criticism.  His  pictures,  however,  always  exiiress 
a. sincere  and  true  motive.”  — Prof.  Vf sir’s  Official  Report  of  the  American  Centennial 
Exhibition  0/1876. 

Wichmann,  Lud-wig-Wilhelm.  {Ger.)  Bom  at  Potsdam  (1785 
- 1859).  Member  of  the  Academies  of  Berlin  and  St.  Luke  at  Rome. 
Member  of  the  Institute  of  France.  Pupil  of  Boye,  Unger,  and  the 
painter  Schadow’.  This  sculptor  made  a reputation  by  his  busts, 
which  are  numerous.  He  became  Professor  and  Member  of  the  Senate 
of  the  Academy  of  Berlin.  Several  groups  executed  by  him  are  seen 
in  public  places  in  Berlin. 

Wichmann,  Otto  Gottfried.  {Ger.)  Bom  at  Berlin  (1828-  1858). 
Studied  at  Paris  under  Robert-Fleury.  Went  to  Italy,  where  he  died. 
At  the  National  Gallery,  Berlin,  are  his  “ Paul  Veronese  at  A'enice  ’’ 
and  “ Catherine  de’  Medici  in  the  Apartment  of  a Poisoner.” 

Wieder,  Wilhelm.  {Ger.)  Born  at  Sepnitz,  1818.  Pupil  of 
Otto  at  Berlin.  Has  spent  much  time  in  foreign  countries,  England, 
Russia,  France,  and  Italy.  Returned  to  Berlin  in  1873.  At  the 
National  Gallery,  Berlin,  is  his  “ Mass  at  Ara  Coeli  at  Rome.” 

Wiegmann,  Marie  Elisabeth  {nee  Hancke).  {Ger.)  Born  at 
Silberberg,  1826.  She  received  the  small  gold  medal  at  Berlin. 
Studied  at  Diisseldorf  under  Sohn.  Paints  genre  subjects  and  por- 
traits. At  the  National  Gallery,  Berlin,  is  her  portrait  of  Earl 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  351 


Schnasse.  At  Berlin,  in  1876,  she  exhibited  “ A Venetian  Lady,” 
“ A Young  Girl  with  Roses,”  and  “ A French  Woman  of  1792.” 

Wight,  Moses.  (Am.)  Born  in  Boston,  1827.  He  began  the 
practice  of  art  as  a profession  in  1845,  in  his  native  city,  devoting 
himself  chiefly  to  portrait-painting.  In  1851  he  went  to  Europe, 
spending  three  years  in  study  on  the  Continent.  During  this  visit  he 
painted  Von  Humboldt  from  life,  a picture  which  was  highly  praised 
and  exhibited  at  the  Grand  Hall  of  the  Art  Union  at  Berlin.  He 
made  a second  trip  to  Europe  in  1860,  and  a third  in  1865,  settling  in 
Paris,  where  he  has  since  lived.  Among  the  better  known  of  his  por- 
traits are  those  of  Agassiz,  Sumner,  Everett,  and  Josiah  Quincy  ; and 
among  his  composition  pictures  may  be  mentioned,  “The  Confidants,” 
“ Lisette,”  “ The  Sixteenth  Century,”  “The  Old  Cuirassier,”  “Pet’s 
First  Cake,”  and  “ John  Alden  and  Priscilla.”  Many  of  his  works 
are  owned  in  Boston.  He  has  rarely  exhibited  in  public  of  late  years. 

Wight,  Peter  B.  (Am.)  Born  in  New  York,  1838.  He  studied 
architecture  under  Thomas  R.  Jackson,  and  furnished  the  designs  for 
the  New  York  Academy  of  Design  in  1862.  He  is  the  architect  of 
the  Brooklyn  Mercantile  Library,  the  School  of  Fine  Arts  connected 
with  Yale  College,  and  other  buildings,  public  and  private,  throughout 
the  country,  particularly  in  Chicago,  where  he  resided  for  some  years. 

Wiles,  Lemuel  M.  (Am.)  Born  in  Wyoming  County,  N.  Y., 
1826.  Between  1848  and  ’51  he  studied  under  William  Hart,  in  the 
Albany  Academy,  and  under  J.  F.  Cropsey  in  New  York  ; drawing 
later  from  nature,  the  only  American  school  of  painting  available  to 
the  landscape-artist.  He  taught  and  worked  at  his  profession  in 
Washington,  D.  C.,  Albany,  and  Utica,  N.  Y.,  until  1864,  when  he 
opened  a studio  in  the  metropolis,  where  he  still  resides.  In  the  year 
1873  - 74  he  went  to  Panama,  California,  and  Colorado,  where  he 
executed  a large  number  of  painted  studies,  upon  which  he  drew  for 
his  more  ambitious  works  ; these  are  valuable  as  the  only  studies  in 
color  yet  obtained  of  the  old  mission  churches  and  cathedrals  of  those 
regions.  He  spends  the  summer  months  in  Ingham,  N.  Y.,  delivering 
annually  a course  of  lectures  and  conducting  the  drawing  classes  in 
the  College  of  Fine  Arts  there.  His  specialty  is  landscape  and  figure- 
painting. Among  the  more  important  of  his  works  are,  “ A Bluster- 
ing Day”  (storm  with  cattle,  now  in  the  possession  of  John  C.  Baker, 
near  Montreal),  “ Mt.  San  Jacinto  ” (belonging  to  James  L.  Morgan  of 
Brooklyn),  “ The  Vale  of  Elms  ” (at  Ingham  University),  “ Reminis- 
cences of  Travel  ” (a  miniature  gallery  of  twenty-eight  pictures,  belong- 
ing to  A.  R.  Frothingham  of  Brooklyn),  “ The  Bridal  Veil,  Yo- 
semite  ” (belonging  to  Mrs.  E.  J.  Staunton,  Le  Roy,  N.  Y.),  “ Long 
Pond,  Seneca  Lake  ” (belonging  to  J.  C.  Lord,  N.  Y.),  and  “Moonrise  ” 
(the  property  of  Cardinal  McCloskey). 

“ L.  M.  Wiles  exhibited  several  pictures  ; among  them  was  a large  canvas  giwng  a 
view  of  Washington,  D.  C.,  from  the  Soldiers’  Home,  and  taking  in  its  sweep  a section 


352  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


of  the  city  extending  from  Arlington  Heights  to  the  Navy  Yard.  Another  fine  subject 
was  entitled  ' A Snow-Squall,’  which  shows  the  figure  of  a woman  caiTj-ing  a baby,  and 
a boy  with  his  hands  in  his  pockets  plodding  along,  and  apparently  hurried  by  the  cold 
wind.  The  figure  of  the  woman  is  well  drawn,  and  the  action  is  admirable.  This  pic- 
tui'e  was  very  attractive.  ” — Kew  York  Evening  Post. 

Wilkie,  Sir  David,  R.  A.  Bom  in  Fifeshire  (1785  - 

1841).  Educated  at  the  Trustees  Academy  in  Edinburgh,  and  in  the 
Royal  Academy,  London.  He  exhibited  at  the  Royal  Academy,  Lon- 
don, for  the  first  time,  in  1806,  “ The  Village  Politician,”  a work 
which  at  once  established  his  reputation.  This  was  followed  by 
“The  Blind  Fiddler,”  “ The  Card-Players,”  “Rent-Day,”  “Jew’s- 
Harp,”  “ Cut  Finger,”  “ Village  Festival,”  “ Rabbit  on  the  "Wall,” 
“ Penny  Wedding,”  “Whisky  Still,”  “Reading  of  the  Will,”  “Parish 
Beadle,”  “ Cotter’s  Saturday  Night,”  etc.,  many  of  which  are  familiar 
to  both  hemispheres  through  the  medium  of  engraving.  He  was 
elected  an  Associate  of  the  Royal  Academy  in  1809,  and  Academician 
in  1811.  He  went  to  the  Continent  in  1825,  spending  three  years  there. 
Was  made  Painter  in  Ordinary  to  George  IV.  in  1830,  and  was 
knighted  in  1836.  He  was  also  a member  of  the  Royal  Scottish  Acad- 
emy, and  the  King’s  Limner  for  Scotland.  Many  of  his  works  are  in 
the  National  Gallery,  London.  He  stood  in  the  first  rank  of  his  pro- 
fession. He  died  on  a vessel  off  Gibraltar  and  was  buried  at  sea. 

Willems,  Florent.  {Belgian.)  Born  at  Liege,  1824.  Officer  of 
the  Legion  of  Honor.  Officer  of  the  Order  of  Leopold.  Pupil  of  the 
Academy  of  Malines.  When  very  young  he  worked  for  a dealer  in 
Brussels  as  a restorer  of  pictures.  Before  he  was  eighteen  he  found  a 
friend  and  patron  in  Sir  Hamilton  Seymour,  who  commissioned  him 
to  paint  the  portraits  of  his  wife  and  children.  In  1842  he  exhibited 
at  Brussels  “ Le  Corps-de-Garde  ” and  the  “ Music-Lesson  ” (pur- 
chased by  the  late  King  of  Belgium),  and  received  a medal.  From 
this  time  he  gained  a succession  of  medals,  both  at  home  and  abroad. 
He  sent  to  the  Paris  Exposition  of  1855  “ The  Interior  of  a Silk- Mer- 
cer’s Shop  in  1660”  (purchased  by  Napoleon  III.)  and  “Coquetry” 
(purchased  by  the  Empress).  In  1877  he  exhiliited  “ Aux  armes  de 
Flandre  ” ; in  1864,  “ L’Accouchee  ” and  “Going  Out”;  in  1863, 
“The  Widow  ” and  “The  Presentation  of  the  Future”;  in  1861, 
“ All  Roi  ! ” At  the  Johnston  sale,  1876,  “ The  Reading  ” (26  by  21) 
sold  for  $ 1,975.  At  the  Latham  sale.  New  York,  1878,  “ No  Song, 
no  Supper  ” (24  by  19)  sold  for  S 1,150,  and  “Jealousy  ” (28  by  21), 
for  S 1,550.  At  the  Walters  Gallery  is  his  picture  of  “ The  Health  of 
the  King.” 

“ In  that  particular  department  of  art  to  which  Willems  has  almost  entirely  limited 
his  practice,  he  certainly  takes  rank  with  the  foremost  men  of  the  modem  continental 
schools.  His  pictures  are  much  in  request,  and  find  their  way  into  the  best  collections, 
both  in  his  own  country  and  in  France.  Subjects  of  a character  so  generally  pleasing, 
and  placed  with  such  artistic  skill  and  such  persuasive  beauty  on  the  canvas,  can  never 
fail  of  finding  patrons  in  men  of  taste  and  judgment."  — James  Dajtorkk,  Art  Jour- 
nal, August,  1866. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  353 


“Men  of  taste  have  almost  wom  mourning  for  'Willems.  He  made  his  debut  with  a 
pretty  picture  representing  a blond  woman  in  a white  satin  dress  ; an  amateur  fell  in 
love  with  the  woman  and  the  dress,  — a hundred  otliers  wished  to  place  in  their  galleries 
the  same  woman  and  the  same  dress.  Tlie  public  who  do  not  buy,  but  who  judge,  have 
ended  by  imagining  that  Willems  exhibited  always  one  and  the  same  picture  : they  no- 
ticed it  no  more.  Happily  for  us  the  command.s  have  ceased,  and  the  artist,who  is,  after 
all,  an  excellent  painter,  has  felt  the  need  of  doing  something  else.  His  two  pictures  of 
tills  year  [‘  L’Accouclite  ’ and  ‘ La  Sortie  ’]  show  a true  advance.  Tlie  artist  has  not  only 
regained  his  commercial  value  but  also  a large  part  of  his  legitimate  popularity.  He  paints 
well,  he  has  good  taste,  he  possesses  a faire  miracvleux,  he  knows  to  the  end  of  his 
tingei's  the  reign  of  Louis  XIII.  I should  counsel  him  to  vary  the  heads  of  his  person- 
ages, and  not  to  become  captivated  by  such  and  such  a model.  It  is  little  to  paint  well 
the  frippery  of  an  age ; if  Meissonier  had  stopped  at  that  he  would  have  been  only  a 
quarter  of  Meissonier.’’  — Edmond  About,  Salon  de  1864. 

Willenich,  Michel.  (Fr.)  Bom  in  Egypt  of  French  parents. 
Pupil  of  G.  Boulanger,  J,  Lefebvre,  and  Kuwasseg.  To  the  Salon  of 
1878  he  contributed  “ La  passerelle  de  la  plage  de  Granville  (Manche), 
a maree  haute  ” (in  oil)  and  an  engraving  of  the  “ Roadstead  of 
Brest”;  in  1876,  “The  Transatlantic  Steamer,  La  Ville  de  Paris, 
entering  the  Port  of  Havre  in  the  Storm  of  October,  1875.” 

Williams,  Penry.  (Brit.)  Born  in  Wales,  1798.  Exhibited  for 
the  first  time  at  the  Royal  Academy  in  1824.  Went  to  Italy  in  1827, 
settling  in  Rome,  where  he  has  since  resided,  exhibiting,  however, 
frequently  in  England,  Italian  landscapes  and  studies  of  Italian  char- 
acter, such  as  “ The  Campagna  of  Rome,”  “ Ferry  on  the  Nimfer,” 
“ The  Procession  to  the  Christening,”  “ The  Fountain,”  “ The  Con- 
valescent,” and  others.  His  “ Italian  Girl  with  a Tambourine,”  “ Ital- 
ian Peasants  resting  by  the  Roadside,”  and  “ Neapolitan  Peasants 
resting  at  a Fountain,”  are  in  the  National  Gallery,  London. 

Williams,  Isaac  L.  (Am.)  Born  in  Philadelphia,  1817.  He 
studied  drawing  under  John  R.  Smith,  afterwards  practicing  painting 
■with  John  Neagle  in  his  native  city,  where  his  entire  profe.ssional  life 
has  been  spent,  with  the  exception  of  a visit  to  Europe  in  1866-67. 
He  was  elected  a member  of  the  Artists’  Fund  Society  of  Philadel- 
phia in  1860,  and  a full  member  of  the  Philadelphia  Academy  in 
1865.  Until  about  1844  he  devoted  himself  exclusively  to  portrait- 
painting ; since  then  he  has  given  equal  or  greater  attention  to  land- 
scapes, confining  himself  to  moderate-sized  cabinet  pictures,  which  are 
owned  in  Philadelphia  and  elsewhere.  His  “ October  ” and  “ View 
near  Meriden,  Ct.”  were  at  the  Centennial  Exhibition  of  1876. 

“ Mr.  Williams*  pictures  are  generally  in  a low  key,  and  they  therefore  frequently 
escape  the  notice  of  visitors  to  exhibitions  or  galleries  filled  with  brighter-colored  works. 
But  carefully  examined  they  will  be  found  to  better  repay  inspection  than  some  per- 
formances that  appear  more  striking  at  first  sight.  Mr.  Williams  excels  in  the  rendition 
of  the  delicate  pearly  effects  that  are  characteristic  of  some  of  the  most  poetical  phases 
of  nature.”  — Philadelphia  Evening  Telegraph. 

Williams,  Frederick  D.  (Am.)  Born  in  Boston.  He  was  at 
one  time  a professor  of  drawing  in  the  public  schools  of  Boston,  but 


354  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


has  lived  for  a number  of  years  in  Paris.  He  sent  to  the  Paris  Salon 
in  1878,  “Farmyard  at  Finistere”  and  a scene  at  Pont  Nien.  He 
devotes  himself  to  landscsipes  and  figtires,  and  has  exhibited  at  the 
Boston  Art  Club,  at  the  Academy,  New  York,  and  elsewhere.  Many 
of  his  works  are  owmed  in  his  native  city,  where  they  meet  with  a 
ready  sale.  To  the  Paris  Exposition  of  1878  he  sent  “ The  Marne  ” ; 
to  the  Exhibition  of  the  Society  of  American  Artists,  the  same  year, 
“ The  Shepherdess  and  her  Flock.” 

Williams,  Mrs.  Frederick  D.  Lunt).  {Am.)  Born  in  Boston. 
Wife  of  the  foregoing.  She  drew  in  crayon  the  “ Past,”  “ Present,” 
and  “ Future,”  familiarly  known  throughout  the  United  States  by  the 
lithograph  copies,  which  are  the  same  size  as  the  originals.  Since  her 
marriage  she  has  occupied  a studio  in  Paris,  with  her  husband,  paint- 
ing cattle  and  figure-pieces  in  oil. 

Williamson,  Daniel  Alexander.  (Brit.)  Born  in  Liverpool, 
1823.  A landscape-painter  in  water-colors.  He  first  exhibited  at 
the  Royal  Academy  in  1850,  living  for  some  }^ears  in  London.  About 
1861  he  left  the  metropolis,  painting  since  then,  to  a great  extent,  in 
the  open  air.  Among  his  works  may  be  mentioned  “ Plowing  ” and 
“ Broughton  Moor.” 

Williamson,  John,  A.  N.  A.  (Am.)  Born  in  Scotland,  1826. 
Taken  to  America  by  his  family.  Resident  of  Brooklyn,  L.  I. 
Member  of  Brooklyn  Art  Association,  and  its  secretary  for  some 
years.  Associate  of  the  National  Academy,  and  member  of  the  Art- 
ists’ Fund  Society.  Among  his  earlier  works  are,  “ American  Trout,” 
“ Trout-Fishing,”  “ Summit  of  Chocorua,  — Twilight,”  and  “ Autumn 
in  the  Adirondacks.”  In  1867  he  sent  to  the  National  Academy, 
“ The  Hanging  Hills  from  Wallingford,  Ct.”  ; in  1869,  “ A Passing 
Shower,  Connecticut  Valley,”  and  “Bread  and  Cheese”;  in  1870, 
“ Hook  Mountains,  Hudson  River  ” (belonging  to  William  M.  Tweed)  ; 
in  1871,  “The  Return  of  the  Hunters”  ; in  1873,  “A  Reminiscence 
of  Berkshire  County”  ; in  1874,  “ The  Daniel  Drew”  and  “ The  C. 
Vibbard”;  in  1876,  “From  Glenwood,  Hudson  River”;  in  1877, 
“After  the  Storm,  Blue  Ridge”  ; in  1878,  “In  the  Mohawk  Valley  ” 
and  “ Sugar-Loaf  Mountain.” 

Willis,  Henry  Brittan.  {Brit.)  Born  in  Bristol.  Was  a pupil 
of  his  father,  a landscape-painter  iu  his  native  town.  The  younger 
Willis,  after  painting  for  some  years  in  Bristol,  spent  a year  in 
America,  but  returned  to  England  in  1843,  and  settled  in  London, 
where  he  still  resides.  He  is  an  active  member  of  the  British  Society 
of  Paintei-s  in  Water-Colors,  and  has  contributed  to  its  gallery  of  late 
years,  among  others,  “Harvest-Time  in  the  South  of  Sussex,”  “A 
Welsh  Homestead,” in  1872;  “ Sheep- Pastures  near  Ballachulish  ’’and 
“ Early  Morning  Effect  on  Ben  Nevis,”  in  1873  ; “ A Cloudy  Day  iu 
the  Highlands”  and  “ Snow  in  Harvest,”  in  1875  ; “ A Harvest  Scene 
near  Broadstairs,  Kent,”  “ Plowing-Time,  Sussex,”  in  1877  ; “ Group 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  355 


of  Cattle  near  Burnham  ” and  “ A Scene  on  the  Wye,”  in  1878.  In 
1861  he  sent  to  the  Royal  Academy  “A  Rest  on  the  Road  to  the 
Fair”  and  “Cattle  on  the  Sands,  North  Wales,”  but  his  name  has  not 
been  seen  in  the  Royal  Academy  Catalogue  since  that  year..  Two  of 
Willis’  water-colors  were  at  the  Centennial  Exhibition  of  1876,  “A 
Group  of  Cattle  on  the  Banks  of  the  Hamble  ” and  “ A Group  of 
Highland  Cattle  in  Glen  Nevis,”  the  latter  belonging  to  the  Mar- 
chioness of  Lome. 

“ ‘ Evening  Effect  on  the  Wye  ’ [London,  1877]  is  a very  beautiful  piece  of  cattle-paint- 
ing and  landscape  by  Bi’ittan  Willis,  a little  opaque  and  over-smooth,  but  full  of  light  and 
color.”  — Art  Journal,  February,  1877. 

Willmore,  James  T.,  A.  R.  A.  {Brit.)  (1800  - 1863.)  He  be- 
gan bis  professional  life  in  Birmingham  under  William  Radcliffe,  a 
well-known  engraver  there.  About  1825  he  went  to  London,  work- 
ing for  some  time  with  Charles  Heath.  He  executed  many  plates 
after  Turner,  Eastlake,  Landseer,  and  others,  and  his  work  is  highly 
regarded  by  connoisseurs.  He  was  an  Associate  of  the  Royal 
Academy  for  twenty  years  before  his  death. 

Willmore,  A.  {Brit.)  Native  of  Birmingham.  Younger  brother  of 
James  T.  Willmore,  A.  R.  A.,  with  whom  he  was  associated  for  some 
years.  Among  his  plates  are,  “ Agrippina  landing  the  Ashes  of  Ger- 
manicus,”  after  Turner  ; “ The  Royal  Volunteer  Review,  Edinburgh,” 
after  Samuel  Bough  ; “ The  Word  of  God,”  after  H.  L.  Roberts  ; “ The 
Pleasant  Walk,”  after  J.  C.  Hook  ; “ Old  Churchyard,  Bettws-y-coed,” 
after  Creswick  ; “A  Calm  Evening”  and  “A  Squally  Morning,” 
after  David  Cox  ; “ Dutch  Boats  landing  Fish,”  after  E.  W.  Cooke  ; 
“ Wreck  off  Whitby,”  after  E.  Duncan ; etc. 

Wilmarth,  Lemuel  E.,  N.  A.  {Am.)  Born  in  Massachusetts. 
In  his  youth  he  was  a watchmaker  in  Philadelphia,  studying  art  from 
life  and  the  antique  in  the  Academy  of  Fine  Arts  of  that  city.  In 
1859  he  went  to  Munich,  where  he  entered  the  Antique  School,  then 
under  the  direction  of  Kaulbach,  remaining  until  his  return  to  America 
in  1862.  In  1864  he  went  to  Paris,  became  an  inmate  of  the  atelier 
of  Gerome,  and  sent  several  important  works  to  the  National  Acad- 
emy, New  York,  “ Sparking  in  the  Olden  Time,”  “ Playing  Two 
Games  at  Once,”  “ Little  Pitchers  have  Big  Ears,”  “ The  Last  Hours 
of  Captain  Nathan  H.all,”  etc.  In  1867  he  returned  to  New  York  ; 
in  1868  he  took  charge  of  the  schools  of  the  Brooklyn  Academy  of  De- 
sign, and  in  1870  he  was  appointed  Professor  of  the  free  schools  of 
the  National  Academy,  a position  he  held  for  some  years.  Wilmarth 
sent  to  the  National  Academy,  in  1869,  “The  Home  Missionary”  ; 
in  1871,  when  he  was  elected  Associate,  “An  Afternoon  at  Home”  ; 
in  1873,  “ Guess  what  I ’ve  brought  you,”  a picture  which  insured 
his  election  as  an  Academician  ; in  1874  he  exhibited  “ Left  in 
Charge”;  in  1875,  “Ingratitude”;  in  1876,  “There’s  Music  in  all 
Things  if  Men  have  Ears”  ; in  1877,  “A  Study  of  Peaches.”  His 
“ Ingratitude  ” was  at  the  Paris  Exposition  of  1878. 


356  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


“ Mr.  'Wilmarth  is  one  of  the  most  painstaking  artists  belonging  to  the  National  Acad- 
emy. His  historical  pictures  show  deep  thought  and  study  in  their  composition  ; and 
every  detail  is  worked  out  with  conscientious  care.  His  subjects  relating  to  every-day 
life  are  generally  invested  with  pleasing  fancy,  and  their  story  is  always  plainly  ex- 
pressed. His  style  of  coloring  is  brilliant,  and  in  his  manner  of  manipulation  his  pic- 
tures are  suggestive  of  the  French  school  in  which  he  was  educated,  but  suggestion  in 
no  wise  impairs  their  individuality.”  — AH  Journal,  September,  1875. 

Wilms,  Peter  Josef.  (Ger.)  Bom  at  Bilk,  near  Diisseldorf, 
1814.  Studied  at  Diisseldorf  Academy.  In  1848  he  went  to  Am- 
sterdam and  remained  a year.  At  the  National  Gallerj’,  Berlin,  is  a 
picture  of  “ Still-Life  ” by  Wilms. 

Winne,  Lievin  de.  (^Belgian.)  Bom  at  Ghent.  Chevalier  of 
the  Legion  of  Honor.  Pupil  of  Devigne.  At  the  Salon  of  1877  he 
exhibited  a portrait  of  “ Leopold  II.  King  of  Belgium,”  belonging  to 
the  King  of  Belgium.  In  1872  his  portrait  of  Mr.  Sanford,  the  Amer- 
ican minister  at  Brussels,  was  much  admired.  This  artist  has  painted 
many  notable  persons,  and  his  pictures  are  characterized  by  simple 
elegance  and  agreeable  color. 

Winter,  L.  de.  (Dutch.)  At  the  Johnston  sale.  New  York,  1876, 
“ Moonlight  on  the  Dutch  Coast”  (27  by  36)  sold  for  $ 560. 

Winter,  Pharaon-Abdon-L^on  de.  (Nr.)  Bom  at  Bailleul. 
Pupil  of  Cabanel.  To  the  Salon  of  1878  he  sent  “ An  Old  Woman 
in  Prayer  ” and  “ The  Return  of  the  Hop-Picker,  — Saturday  Even- 
ing”; in  1877,  a portrait  and  “Judith”  ; and  in  1876,  “The  Prodi- 
gal Son.” 

Winterhalter,  Franqois  Xavier.  (Ger.)  Bom  at  Baden  (1806- 
1873).  Officer  of  the  Legion  of  Honor.  Studied  at  Munich  and 
Rome,  where  he  spent  several  years,  and  settled  in  Paris  in  1834. 
He  also  traveled  frequently^  and  visited  Germany,  England,  and 
Spain,  and  left,  yvherever  he  yvent,  numerous  portraits.  His  genre 
pictures  are  not  numerous,  and  he  executed  a feyv  engravings  and 
lithographs.  He  yvas  a favorite  portrait-painter  in  the  circles  of 
royalty  and  high  life.  His  composition  and  arrangement  of  his  pic- 
tures yvas  very  happy.  Among  his  portraits  are  those  of  Louis  Phi- 
lippe and  his  Queen  and  all  the  members  of  the  family  of  Orleans, 
Prince  Wagram,  Napoleon  HI.  and  the  Empress  Eugenie  and  their 
son,  the  Grand  Duchess  Helen  of  Russia,  etc.  A feyv  days  before  his 
death  this  artist  made  his  yviU,  in  which  he  desired  that  tyvelve  pic- 
tures which  he  had  alloyved  no  one  to  see  should  not  be  given  to  the 
public  until  fifty  years  after  his  death.  He  did  this  in  order  that  at 
last  a judgment  should  be  formed  of  him  as  an  artist  without  the  influ- 
ence of  personal  prejudice.  He  says  : “ Many  painters  are  praised  to 
the  skies  during  their  lifetime,  and  yet  several  years  after  they  have 
passed  ayvay  feyv  yvill  care  to  look  at  the  yvorks  they  have  left.  Espe- 
cially is  this  the  case  yvith  those  painters  yvho  enjoy  the  favor  of 
kings  and  emperors.  It  is  unjust  that  they  should  be  made  to  suffer 
for  it.  To  my  own  lot  has  it  fallen  to  be  treated  yvuth  extreme  kind- 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  357 


ness  by  such  exalted  personages.  Should  I he  on  that  account  denied 
the  position  in  art  for  which  1 have  striven  so  long  and  zealously  1 ” 
The  wishes  of  Winterhalter  were  disregarded  ; the  heirs  obtained 
leave  from  the  court  to  open  the  boxes,  and  found  a portrait  of  Prince 
Clement  Metternich,  walking  in  his  splendid  garden  at  Johannisberg; 
attached  to  it  was  a parchment  with  these  words  : “ I painted  this 
portrait  in  1858.  I was  so  pleased  with  it  that  I resolved  to  keep  it.” 
There  were  also  two  battle-scenes  from  the  Austro-German  war  of 
1866,  both  very  spirited,  four  landscapes,  three  flower-pieces,  a por- 
trait of  Pauline  Viardot  Garcia,  of  whom  Winterhalter  was  an 
admirer,  and  another  of  Queen  Caroline  of  England,  painted  from  a 
miniature  in  the  Art  Museum  at  Brunswick.  This  last  was  painted 
in  1869,  and  was  much  admired  by  those  who  were  present  at  the 
opening  of  these  boxes  ; it  is  a masterpiece.  Of  the  landscapes,  two 
were  views  in  the  Isle  of  Wight,  of  which  Winterhalter  was  A'^ery 
fond.  One  of  the  remaining  two  was  called  “ Stubbenkammer,  on 
the  Island  of  Riigen”;  the  other,  “The  Tannus  Valley.” 

" I take  first  of  all  the  portrait  of  the  Prince  Imperial.  Certainly  Winterhalter  ought 
not  to  be  considered  as  an  ordinary  artist ; the  favor  which  he  enjoys  with  the  princes 
of  Europe  and  even  with  the  good  public  should  not  be  attributed  to  a universal  mis- 
take. Twenty-five  or  thirty  millions  of  individuals  do  not  agree  upon  the  same  foolish- 
ness at  the  same  moment.  Winterhalter  has  talent ; he  has  proved  it  more  than  once  ; 
he  excels  often  in  rendering  the  elegance  and  brilliancy  of  a pretty  woman.  He  knows 
how  to  po.se,  to  adjust,  to  dress  magnificently  certain  models  ; he  has  made  some  por- 
traits which  can  bear  comparison  with  Lawrence  and  all  of  the  most  aristocratic  paint- 
ing which  England  has  produced  ; but  his  exposition  this  year  is  below  mediocrity.  He 
cannot  throw  the  fault  on  his  models.  He  had  to  paint  a beautiful  child  whom  all  Paris 
knows,  whom  nearly  twenty  thousand  babies  saw  last  Sunday  in  the  garden  with 
his  father  and  mother  ; he  has  made  of  him  a cold  doll,  without  blood,  the  eye  dimmed, 
the  physiognomy  dull,  badly  adjusted  ; moreover,  no  one  walks  in  the  costume  of  the 
city  with  a musket,  since  the  bisets  are  excluded  from  the  National  Guard.  The  other 

]ioitrait  is  not  in  the  Salon  of  Honor It  is  the  crime  of  treason  to  beauty,  no 

more  nor  less.  One  is  able,  I believe,  without  being  a flatterer  to  render  justice  to  the 
figure  of  a truly  beautiful,  elegant,  and  graceful  woman.  What  above  all  distinguishes 
the  amiable  model  sacrificed  by  the  brush  of  Winterhalter  is  an  incredible  fineness  of 
skin,  a mother-of-pearl  flesh,  a general  tone  of  exquisite  delicacy.  One  thinks,  in  spite 
of  himself,  of  those  goddesses  of  Homer  who  bled  ambrosia  when  the  sharp  metal 
grazed  their  delicate  members.  Correggio  alone,  or  our  Prud’hon,  could  express  in 
color  tills  fine  flower  of  feminine  sweetness.  Winterhalter  has  taken,  I know  not  whence, 
some  tones  of  washed  flesh,  — rewashed  anil  soaked  in  water.  His  picture  is  almost  like 
a painting  on  porcelain ; it  has  hot  even  the  compensation  of  the  freshness  and  the 
smile  of  enamel.  ” — Edmond  About,  Salon  of  1864. 

Wintz,  Guillaume.  (Prussian.)  Born  at  Cologne,  naturalized 
Frenchman.  Pupil  of  A.  Rolland.  At  the  Paris  Salon  of  1878  he 
exhibited  “ Troupeau  de  moutons  rentrant  par  une  barriere  ” and 
“ Cows  in  a Barnyard,  in  Lorraine”  ; in  1877,  “ A Flock  of  Sheep”; 
and  in  1876,  “ A Pasture  near  Saint- Arnold,  — Morning  Effect.” 

Wislicenus,  Hermann.  (Ger.)  Born  at  Eisenach,  1825.  Studied 
under  Professor  Muller  and  at  the  Dresden  Academy.  His  first 
work,  “ Abundance  and  Poverty,”  is  in  the  Gallery  of  Dresden.  The 


358  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Grand  Duke  of  Saxony  assisted  him  to  go  to  Italy,  where  he  remained 
from  1854  to  ’57.  After  his  return  he  settled  at  Weimar  until,  in 
1868,  he  was  called  as  Professor  to  Diisseldorf.  When  the  Academy 
there  was  burned  Wislicenus  lost  a large  part  of  the  result  of  his  life’s 
laljors.  At  the  Roman  House  in  Leipsic  are  some  of  his  wall-paint- 
ings, illustrating  scenes  from  Roman  history.  Some  of  his  decora- 
tive works  of  a religious  character  are  in  the  Castle  Chapel  of  Weimar, 
and  in  other  churches.  At  the  National  Gallery,  Berlin,  are  his  pic- 
tures of  the  “ Four  Seasons”  ; in  the  Leipsic  Museum  are  some  of  his 
sketches  for  his  large  works. 

Witherington,  William  Frederick,  R.  A.  (Brit.)  (1785- 
1865.)  Brought  up  to  mercantile  pursuits,  but  early  displayed  a 
taste  for  art,  studying  diligently  in  his  leisure  moments.  He  finally 
devoted  himself  to  painting  as  a profession,  and  sent  his  first  picture 
to  the  Royal  Academy,  “ Going  out  in  the  Morning,”  in  1812,  con- 
tributing regularly  thereafter  to  its  exhibitions  for  over  forty  years. 
He  was  elected  an  Associate  of  the  Royal  Academy  in  1830,  and 
Academician  in  1840,  and  was  placed  on  the  list  of  Honorary  Retired 
Academicians  in  1863.  Among  his  earlier  works  are,  “ The  Soldier’s 
Wife,”  “ Don  Quixote  and  Sancho  Panza,”  “ John  Gilpin,”  and 
many  views  of  English  scenery.  Among  his  later  productions  may 
he  mentioned,  “ Gleaners  Returning,”  “ Re.sting  by  the  Way,” 
“ Harvest-Time,  — Noon,”  “ L)’nmouth,  North  Devon,”  “ Harvesting 
in  the  Vale  of  Conway,”  “Stacking  Hay,  North  Wales,”  “The  Way 
to  the  Village,”  etc.  His  “ Hop  Garden  ” is  in  the  Sheepshanks  Col- 
lection ; the  “Hop  Garland  ” and  “ The  Stepping-Stones  ” are  in  the 
National  Gallery,  London,  bequeathed  by  Mr.  Vernon. 

Wittig,  Hermann  Friedrich.  (Ger.)  Born  at  Berlin,  1819. 
Studied  at  the  Berlin  Academy  and  under  Tieck.  Has  visited  Paris 
and  Rome.  Lives  in  Berlin.  His  works  are  numerous,  both  ideal 
subjects  and  portraits.  At  the  National  Gallery,  Berlin,  there  is  a 
group  called  “ Germany  protecting  the  Arts,”  executed  by  Wittig 
after  a model  by  Schultz.  In  Berlin,  in  1871,  he  exhibited  “A  Lis- 
tening Nymph,”  and  in  1876,  “ Mignon.” 

Wittig,  Friedrich  August  (Ger.)  Bom  at  Meissen,  1826.  Mem- 
ber of  the  Academies  of  Diisseldorf  and  Carrara.  Medals  at  Berlin 
and  Vienna.  Studied  under  E.  Rietschel  at  Dresden.  He  has  visite<l 
Rome.  In  1864  he  went  to  Diisseldorf  to  act  as  director  of  a school 
of  sculpture.  His  subjects  are  mostly  mythological,  or  taken  from 
the  Old  Testament.  He  loves  purely  classical  art,  and  endeavors  to 
show  this  in  his  works.  At  the  National  Gallery,  Berlin,  are  his 
“ Hagar  and  Ishraael  ” and  a colossal  bust  of  “ Peter  Cornelius.” 
Some  of  his  works  are  in  the  Museum  of  Leipsic. 

Wolf,  Emil.  (Ger.)  Born  at  Berlin,  1802.  President  of  the 
Academy  of  St.  Luke  at  Rome.  This  sculptor  studied  under  J.  G. 
Schadow.  He  went  to  Rome  in  1822,  where  he  occupied  the  studio 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  359 


of  Rudolf  Schadow,  and  completed  many  of  the  works  left  unfinished 
at  the  death  of  that  artist.  Wolf  is  a follower  of  Thorwaldsen,  but 
has  also  some  traits  like  Gottfried  Schadow.  He  affects  representa- 
tions of  female  beauty.  At  the  National  Gallery,  Berlin,  is  his 
“Judith.”  At  Berlin,  in  1871,  he  exhibited,  “A  Young  Roman 
Matron  taking  off  her  Jewels  to  give  them  for  her  Country.” 

Wood,  John.  (Brit.)  (1801-1870.)  Son  of  an  artist,  from  whom 
he  received  his  first  lessons  in  drawing.  He  entered  the  schools  of 
the  Royal  Academy  in  1819,  and  exhibited  his  first  picture,  “Adam 
and  Eve  lamenting  over  the  dead  Body  of  Abel,”  in  1823.  In  1825 
he  gained  the  Royal  Academy  gold  medal  for  a picture  called  “ Jo- 
seph expounding  the  Dreams  of  Pharaoh’s  Butler  and  Baker.” 
Among  his  earlier  works  maybe  mentioned,  “The  Orphans,”  “The 
Dream  of  Endyniion,”  “ Elizabeth  in  the  Tower  after  the  Death  of 
Queen  Mary,”  etc.  His  later  pictures  were  chiefly  of  a religious 
character. 

Wood,  George  B.,  Jr.  (Am)  Born  in  Philadelphia,  1832.  His 
entire  professional  life  has  been  spent  in  his  native  city.  He  was 
educated  at  the  Pennsylvania  Academy  of  Fine  Arts,  of  which  he  is 
now  an  active  member.  He  is  also  a member  of  the  Artists’  Fund 
Society  of  Philadelphia.  Among  his  works  may  be  mentioned,  “ Early 
Spring  ” (belonging  to  G.  C.  Thomas).  “ Freddy  Flechtenstein’s  Shop  ” 
(belonging  to  D.  Haddock,  Jr.),  the  “Interior  of  G.  W.  Childs’ 
Private  Office  ” (belonging  to  Mr.  Childs),  “ Interior  of  the  Philadel- 
phia Library  ” (belonging  to  George  Whitney),  and  “ The  Hunter  in 
Luck  ” (the  property  of  Mr.  Harrison). 

“The  subdued  but  rich  colors  which  abound  in  this  room  [‘Office  of  G.  W,  Childs’] 
have  afforded  the  artist  abundant  opportunities  for  the  employment  of  all  the  resources 
of  his  palette,  and  he  has  produced  a picture  which  is  highly  interesting  in  itself,  and 
apart  from  its  subject.  This  is,  in  fact,  one  of  the  best  of  Mr.  Wood’s  very  excellent 
representations  of  interiors.  It  is  iiaintcd  with  great  conscientiousness  throughout,  and 
it  has  evidently  had  an  immense  amount  of  labor  and  skill  expended  upon  it.”  — Phila- 
delphia Evening  Telegraphy  December  21,  1877. 

Wood,  Marshall.  (Brit.)  This  sculptor  is  a resident  of  London. 
He  exhibits  at  the  Royal  Academy.  His  marble  bust  of  a woman, 
called  “ The  Song  of  the  Shirt,”  was  exhibited  in  Boston  some  years 
ago  and  sold  there.  It  was  considered  as  very  characteristic  of  the 
English  school.  Of  it,  the  “ Gazette  des  Beaux- Arts  ” says,  “ The  pro- 
duction of  the  English  sculptor  is  finely  featured,  in  truth,  almost 
captivating.  After  a cry  of  anguish  Marshall  Wood  has  made  a sweet 
ballad.”  Among  his  works  of  an  ideal  character  are,  “ The  Siren  ” 
(1871),  “ Hebe  ” (a  group),  and  “ Musidora  ” (1870).  His  statue  of 
the  Queen  was  unveiled  in  Victoria  Square,  Montreal,  by  Earl  Duf- 
ferin.  His  “ Nymph  at  the  Bath  ” sold  for  330  guineas.  He  has 
made  several  busts  of  the  Prince  of  Wales.  One  of  these,  of  colossal 
size,  is  in  the  Guildhall,  London. 

Wood,  Thomas  W.,  N.  A.  (Am.)  Born  at  Montpelier,  Vt. 


360  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Studied  from  nature  in  the  neighborhood  of  his  native  city,  and 
painted  portraits  there  until  1857,  when  he  went  to  Boston,  entering 
the  studio  of  Chester  Harding.  Here  he  remained  but  a few  months, 
when  he  went  to  Paris  and  there  opened  a studio.  He  made  short 
trips  to  Italy  and  Switzerland,  and  returned  to  America  in  1860. 
He  painted  portraits  in  Louisville,  Ky.,  and  Nashville,  Tenn.,  until 
1867,  when  he  settled  in  New  York.  He  was  made  an  Associate  of 
the  National  Academy  the  same  year.  Academician  in  1871,  and  was 
f'lie  of  the  early  membei’s  of  the  Water-Color  Society.  In  1867  he 
sent  to  the  National  Academy,  “ The  Sharp-Shooter,”  “ The  Eecruit,” 
“ The  Veteran,”  a series  of  war-sketches  ; in  1868,  “ The  Contraband 
Volunteer  ” and  “ Politics  in  the  Workshop  ” ; in  1869,  “ The  Country 
Doctor  ” (belonging  to  J.  E.  Osgood)  ; in  1870,  “ Eeturn  of  the  Flag”  ; 
in  1871,  “Cogitation”  (bought  by  Fletcher  Harper);  in  1874,  “The 
Wood-Sawyer”;  in  1875,  “The  Weekly  Paper”  and  “A  Quiet 
Smoke”;  in  1876,  “Truants”;  in  1877,  “Sunday  Morning”  and 
“Grandma’s  Bonnet”  ; in  1878,  “Not  a Drop  too  Much.”  To  the 
Water-Color  Exhibition  of  1874  he  sent  “A  Poor  White”  ; in  1875, 
“Nominated”  and  “Style”  ; in  1876,  “Shine,”  “Waiting  for  a Job,” 
and  “ No  Smoking  Allowed  ” ; in  1877,  “Arguing  the  Question”  and 
“Hospitality”;  in  1878,  “The  Stolen  Glance”  and  “Crossing  the 
Ferry.”  “The  Veteran,”  “The  Eecruit,”  and  “The  Contraband” 
(belonging  to  C.  S.  Smith),  and  “ The  Leader’s  Call  ” (in  water-color) 
were  at  the  International  E.xhibition  at  Philadelphia  in  1876  ; and 
“The  Veteran,”  “The  Eecruit,”  and  “ The  Contraband,”  at  the  Paris 
Exposition  of  1878. 

“ Wood’s  pk  tures  of  the  different  phases  of  war-life  of  the  Southern  negro  daring 
the  Rebellion,  cleverly  executed,  tell  their  own  story  and  appeal  to  the  popular  taste."  — 
T'jckerman’s  Book  of  the  Artists. 

“ As  a colorist  Wood  is  forcible,  and  as  a delineator  of  character  he  never  accepts  the 
ideal,  but  goes  direct  to  nature  for  his  models.  In  the  composition  of  a lucture  every 
object  is  clearly  drawn,  and  he  secures  attention  by  the  directness  of  his  story.” — Art 
Journal,  Ajjril,  ISTC. 

Woodington,  William  F.,  A.  E.  A.  (Brit.)  Born  near  Birming- 
ham, 1806.  At  the  age  of  twelve  he  was  articled  to  Eobert  Lievier, 
engraver,  under  whom  he  studied  drawing,  etc.  Later,  when  his 
master  became  a sculptor,  Mr.  Woodington  also  turned  his  attention 
to  that  branch  of  the  art,  studying  from  life  at  evening  schools  for 
years.  At  the  age  of  fourteen  he  gained  a silver  medal  from  the 
Society  of  Arts,  and  he  received  a prize  of  £ 500  in  the  competition  for 
the  Wellington  Monument  after  the  death  of  that  statesman.  !Mr. 
Woodington  has  spent  his  professional  life  in  London,  and  has  been 
an  Associate  of  the  Eoyal  Academy  since  1876. 

He  executed  bas-relievos  for  the  Nelson  ^Monument,  in  bronze  ; b;is- 
relievos,  in  marble,  for  the  decoration  of  the  chapel  in  St.  Paul’s 
Cathedral,  in  which  the  Wellington  Monument  is  placed  ; statue  of 
James  Steele,  editor  of  the  Carlisle  Journal,  now  in  Carlisle  ; statues 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  361 


of  Captain  Cook,  Sir  Walter  Raleigh,  Coliimhus,  Drake,  Mercator, 
Galileo  (each  eight  feet  in  height),  and  other  sculptures  for  the  Royal 
Exchange  at  Liverpool  ; colossal  bust  of  Paxton,  at  the  Crystal  Pal- 
ace ; two  statues  of  the  Old  Barons,  for  the  House  of  Lords  ; etc. 

Woolner,  Thomas,  R.  A.  {Brit.)  Born,  1825.  Among  the 
better  known  of  his  works  are  a statue  of  Macaula}’',  at  Cambridge  ; 
statues  of  the  Prince  Consort  and  Lord  Bacon,  at  Oxford  ; of  Pal- 
merston, Palace  Yard  ; William  HI.,  in  the  House  of  Parliament  ; 
busts  of  Darwin,  Tennyson,  Cohden,  Gladstone,  Dickens,  Carlyle, 
Charles  Kingsley  (in  Westminster  Abbey),  and  many  more;  also, 
“ Puck,”  “ Love,”  “ Death  of  Boadicea,”  “ Constance  and  Arthur,” 
“ Virgilia,”  “ Ophelia,”  “ In  Memoriam,”  “ The  Lord’s  Prayer,”  and 
other  ideal  works. 

He  was  elected  an  Associate  of  the  Royal  Academy  in  1871,  Acad- 
emician in  1874,  and  Professor  of  Sculpture  in  1877. 

“ The  sculptor  among  ourselves  who  has  the  best  insight  into  the  conditions  and 
needs  of  his  art  is  Woolner.  He  sends  to  tlie  Royal  Academy  this  year  [1873]  a remark- 
ably tine  statue,  representing  Dr.  Whewell  of  Trinity  College,  Cambridge.  Tlie  mold- 
ing of  the  head  is  massive  and  grand  ; tlie  expression  of  tlie  face  individual  witliout 
narrowness.  With  the  force  and  intellect  of  a portrait,  the  whole  composition  would 
seem  to  take  also  something  of  ideal  influence.”  — Art  Journal,  September,  1873. 

“ Mr.  Woolner’s  portraits  are  alive  and  energetic  (iierhaps  in  some  cases  a little  to 
excess).  We  see  a moutli  that  will  open,  an  eyelid  whose  upper  line  is  not  a boundary 
but  a movable  fold.  In  the  eye  of  Tennyson  there  is  raid  attention  that  more  than 
sees.  In  Gladstone,  with  scholarly  refinement,  there  is  indomitable  will ; and  in  Car- 
lyle the  poetry  of  introspection.”  — John  L.  Tuppkk,  in  EnglUh  Artists  of  tlie  Present  Day . 

Worms,  Jules.  (Fr.)  Born  at  Paris,  1837.  Chevalier  of  the 
Legion  of  Honor.  Pupil  of  Lafosse.  Made  his  debut  at  the  Salon 
of  1859.  One  of  his  first  pictures  foretold  his  success  in  the  humorous 
vein.  It  was  called  “ A Dragoon  making  Love  to  a Nursery-Maid  on 
n Bench  in  the  Place  Royale.”  In  1861  he  exhibited  “ Arrested  for 
Debt.”  He  afterwards  traveled  in  Spain,  and  collected  many  sketches 
of  the  life,  manners,  and  costumes  there.  The  water-colors  of  this 
jiainter  are  much  prized  by  amateurs.  In  1877  he  exhibited  “ The 
Fountain  of  the  Bull  at  Granada”  (belonging  to  Miss  Wolfe  of  New 
York),  “ The  Chosen  Flower,”  and  four  water-colors  (a  portrait,  “ The 
Cage,” “The  Well,”  and  “The  Toilette  of  a little  Danseuse”);  in 
1876,  “The  Dance  of  the  Vito  at  Granada”  (belonging  to  the  late 
Mr.  Stewart)  and  “ The  Departure  for  the  Review  ” ; in  1875,  “ Une 
nouvelle  a sensation  ” and  “ A Vocation  ” ; in  1874,  “ The  Horse- 
Jockey,  Granada  ” and  “ The  Little  Cabinet-Maker  in  1873,  “ Une 
tante  a succession  ” and  a “ Portrait  of  Mile.  Priston  ” ; in  1872,  “ The 
Shearers  at  Granada  ” ; in  1870,  “ The  Sale  of  a Mule”  and  a “ Letter- 
Box.”  At  the  Johnston  sale  his  “Waiting  at  the  Rendezvous”  (16 
by  12)  sold  for  $ 400.  His  “Romance  i la  Mode”  (1868)  is  in  the 
Luxembourg. 

Worth,  Thomas.  (Am.)  Born  in  New  York,  in  1839.  He 
studied  drawing  in  the  school  of  Mr.  Wells  in  New  York,  and  has 

VOL.  II.  13  8 


362  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


spent  his  professional  life  in  that  city.  He  was  first  brought  into 
public  notice  as  a caricaturist  in  1862,  when  he  furnished  the  illus- 
trations for  a h amorous  work  entitled  “ Plutarch  Restored,”  published 
and  edited  by  G.  AV.  Nichols.  Mr.  AVorth  drew  the  pictures  on  stone, 
and  the  descriptive  articles  were  written  by  John  E.  Brady,  James  T, 
Brady,  and  other  distinguished  men.  During  the  past  ten  years  he 
has  made  many  comic  designs  for  the  periodicals  of  the  Harpers  and 
other  publishing-houses,  besides  drawing  designs  of  horses  of  a hu- 
morous character  for  colored  lithographs.  His  more  elaborate  water- 
colors  and  pen-and-ink  drawings  are  owned  Judge  Brady,  Judge 
Noah  Davis,  George  AVatson,  David  Leavitt,  Jr.,  Fletcher  Harj)er, 
Nathaniel  Jarvis,  and  others. 

“ Is  it  not  then  time  to  say  or  do  something  about  the  hoary  old  historian 

Plutarch?  Mr.  T.  Wortli  has  thought  it  worth  liis  while  to  do  something  : and  a.s  lie 
recognizes  the  power  of  the  pencil  rather  than  the  pen,  he  has  undertaken  in  ‘ Plutarch 
Restored  ’ to  illustrate  the  illustrious  of  Greece  and  Rome.  He  furthermore  calls  his 
hook  ‘ An  Anachronatic  Metemiisychosis,’  which  sounds  resonant  and  cla.ssical,  even  if  it 

conveys  no  very  definite  meaning The  drawings  of  Jlr.  Worth  prove  that  we  have 

among  us  a caricaturist  possessing  abilities  of  no  ordinary  character.  Mr.  Worth’s  style 
is  original.  He  imitates  neither  Cruikshauk,  Leech,  nor  Dorc,  and,  indeed,  the  subject 
chosen  is  one  which  they  have  never  taken  up.  While  preserving  in  these  sketches  the 
old  Grecian  costumes,  architecture,  and  ‘ properties,'  Mr.  Worth  gives  to  his  figures  the 
faces  and  forms  of  the  good  folks  of  the  present  centur}’,  — and  it  is  in  this  amusing  in- 
congruity that  one  of  the  great  charms  of  the  book  exists.  What  can  be  more  witty 
(wit,  says  Burnet,  is  an  assimilation  of  remote  ideas  oddly  or  humorously  collected)  in 
the  picture  line,  than  the  ‘ Guide  of  the  Elephant’  (Xo.  13),  a figure  in  Roman  dress,  with 
the  head  of  an  Irishman,  a shocking  had  hat,  a shillelah,  and  a pipe  stuck  in  the  belt ; 
orthe  slouchy  street  boys  gazing  at  ‘Theseus  taking  his  Evening  Walk  ’ (Xo.  17),  who, 
though  in  classic  dress,  are  suggestive  of  Center  street  and  the  Five  Points  in  face  and 
fonn  ? Excellent,  too,  is  the  ‘ Frightened  Senator  ’ (in  Xo.  14),  seated  before  the  Senate  in 
a rocking-chair,  his  spectacles  jiushed  up  on  his  forehead  and  an  old-fashioned  black 
stock  encircling  his  neck.  Perhaps  the  best  jiicture  in  the  book  is,  however,  that  of 
Pelopidas  in  prison,  — the  very  picture  of  abject  seediness.  Alcibiades  (the  text  tells  us 
he  was  a military  man  descended  from  the  Telemonian  Ajax,  one  of  whose  latest  descen- 
dants was  Andrew  Jackson,  — a modem  refinement  upon  Ajax  Son)  looks  like  Barili  the 
singer ; and,  indeed,  the  artist  seems  to  have  copied  not  a few  of  his  characters  from 
the  style  of  the  Academy  of  Music.”  — A'cio  I'orJ;  Evening  Post,  April  12,  1SC2. 

Wright,  Rufus.  (Am.)  Boni  near  Cleveland,  0.,  in  1832.  He 
received  his  art  education  in  the  schools  of  the  National  Academy, 
New  York,  and  was  for  some  time  a pupil  of  George  A.  Baker.  His 
professional  life  has  been  spent  in  New  A^ork,  AYashington,  D.  C.,  and 
Brooklyn.  In  1866  he  was  made  a member  of  the  Brooklyn  Acad- 
emy of  Design,  and  was  for  five  or  six  years  a teacher  in  its  schools. 
Among  the  more  important  of  his  portraits  are  those  of  Chief  Jus- 
tice Taney  and  Chief  Clerk  Carrol,  of  Secretary  Stanton,  Secretarv' 
Seward,  Father  McGinn,  Colonel  Isaac  H.  Read,  late  President  of 
the  Produce  Exchange,  New  Y’ork,  etc.  He  turned  his  attention  to 
the  painting  of  composition  pictures  in  1875  or  ’76.  exhibiting  at  the 
National  Academy  in  New  York  in  1876,  “The  Morning  Bouquet” 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  363 


and  “ The  Inventor  and  the  Banker  ” ; in  1877,  “Thank  you,  Sir ! ”; 
in  1878,  “ Concerned  for  his  Sole.” 

“ ‘ The  Inventor  and  the  Banker  ’ is  a strong  composition,  and  one  which  not  onl7 
shows  thought,  hut  also  high  artistic  genius.”  — Art  Journal,  May,  1876.  . 

Wright,  F.  E.  {Am.)  Born  in  South  Weymouth,  Mass.,  1849. 
Studied  in  Paris  for  some  time  under  T.  L.  Bonnat,  Chapu,  Bou- 
langer, and  Lefehvre.  His  professional  life  has  been  spent  in  Boston, 
where  his  portraits  are  popular  and  are  generally  owned. 

Wyant,  A.  H.,  N.  A.  (Am.)  Born  in  Ohio,  1839.  Early  mani- 
fested a taste  for  art,  and  began  his  professional  career  as  a landscape- 
painter  in  Cincinnati.  He  spent  some  years  in  Diisseldorf,  where  he 
studied  under  Hans  Gude  ; subsequently  he  studied  in  London,  and  re- 
turned to  America,  settling  in  New  York  in  1864  or  ’65.  His  first 
picture,  exhibited  in  New  York,  “ A View  of  the  Valley  of  the  Ohio 
River,”  was  at  the  National  Academy  in  1865.  He  was  elected  an 
Associate  in  1868,  Academician  in  1869,  and  was  one  of  the  early 
members  of  the  American  Society  of  Painters  in  Water-Colors. 
Among  his  pictures  in  oil  are,  “ Staten  Island  from  the  Jersey  Mead- 
ows,” in  1867  ; “ Scene  on  the  Upper  Susquehanna,”  in  1869  ; “ The 
Bird’s-Nest”  and  “A  Changeful  Day,”  in  1870;  “Shore  of  Lake 
Champlain  ” and  “A  Pool  on  the  Ausable,”  in  1871  ; “ Fort  at  New 
Bedford,”  in  1874  ; “ A View  on  Lake  George  ” and  “ A Midsummer 
Retreat,”  in  1875  ; “ Macgillicuddy’s  Reeks  ” and  “ The  Wilds  of  the 
Adirondacks,”  in  1876;  “An  Old  Clearing,”  in  1877;  “ An  Old  Road, — 
Evening,”  and  “ Pool  in  the  North  Woods.”  To  the  Water-Color  Ex- 
hibition he  contributed,  in  1867,  “ Scene  on  the  Upper  Little  Miami”  ; 
in  1869,  “ A Reminiscence  of  West  Virginia  ” and  “ Trees  and  Stuff 
in  New  Jersey  ” ; in  1870,  “ New  Jersey  Meadows”  ; in  1872,  “ Gath- 
ering Shells”;  in  1876,  “Late  Autumn,  Ausable  River”;  in  1877, 
“Scene  in  Massachusetts”  and  “An  Irish  Lake  Scene”;  in  1878, 
“ Reminiscences  of  the  Connecticut,”  “ Mountains  in  Kerry,”  and 
others.  His  “ Sunset  on  the  Prairie,”  in  water-color  (belonging  to 
R.  M.  Schuyler),  was  in  the  Philadelphia  Exhibition  of  1876.  His 
“Reminiscence  of  the  Connecticut,”  in  water-colors,  and  “New  Eng- 
land Landscape,”  in  oil,  were  at  the  Paris  Exposition  of  1878. 

As  a painter  of  the  wild  and  rugged  scenery  of  the  northern  wilderness  of  New  York, 
Wyant  has  but  few  equals  in  the  Academic  ranks.”  — Art  Journal,  December,  1876. 

Wyatt,  Sir  Matthew  Digby.  (Brit.)  Born  in  Wiltshire  (1820- 
1877).  A pupil  at  the  Royal  Academy,  and  subsequently  of  several 
Continental  Academies.  His  first  important  work  as  an  architect 
was  the  Crystal  Palace  in  London  in  1851,  and  in  1852  to  ’54  he  was 
superintendent  of  the  decorations  and  Fine  Art  Department  of  the 
same  building  on  its  erection  in  Sydenham.  In  1856  he  received  the 
appointment  of  Surveyor  to  the  British  East  India  Company,  furnish- 
ing the  designs  for  many  fine  structures  in  India  and  in  Great  Britain. 
He  was  knighted  in  1869.  Among  the  more  important  works  pub- 


364  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


lished  by  him  are,  “ The  Industrial  Arts  of  the  Nineteenth  Century  ’’ 
(1851),  “ Art  Treasures  of  the  United  Kingdom”  (1857),  “ Fme  Art” 
(1870),  “An  Architect’s  Note- Book  in  Spain  ” (1872).  In  1869  he  was 
appointed  Slade  Professor  of  Pine  Arts  at  the  Cambridge  University. 

Wyburd,  Francis  John.  (Brit.)  Born  in  London,  1826.  Educated 
at  Lille,  France.  On  his  return  to  England  he  was  placed  as  a pupil 
with  the  late  Thomas  Fairland,  a clever  lithographic  artist.  In  1845 
Wyburd  received  a silver  medal  from  the  Society  of  Arts  for  a drawing, 
and  in  1848  he  entered  the  schools  of  the  Eoyal  Academy,  exhibiting 
for  the  first  time  at  the  Royal  Academy  the  next  year.  In  1853  he 
sent  “ Beatrice,”  a small  study  which  was  highly  praised.  Among 
his  other  works  may  be  mentioned,  “ Lalla  Eookh,”  “ The  Kiosk  ” 
(painted  for  the  Glasgow  Art  Union),  “ Hinda,”  “ Amy  Robsmt  and 
Janet  Forster,”  “ The  Convent  Shrine  ” (at  the  British  Institution  in 
1862),  “ Immortelles  ” (painted  for  the  Duchess  of  Cambridge,  exhib- 
ited at  the  Royal  Academy  in  1862,  and  subsequently  engraved).  In 
1863  he  sent  to  the  Royal  Academy,  “Christmas  Time”;  in  1864, 
“The  Offering”  and  “The  Private  View”;  in  1865,  “ The  Churcli 
Door”  ; in  1867,  “ The  Last  Day  in  the  Old  Room”  ; in  1868,  “ The 
Confessional”;  in  1869,  “The  Birthday  Visit”;  in  1872,  “The 
Harem”  ; in  1874,  “ Nadira”  ; in  1875,  “ Breakfast- Ti me ” ; in  1876, 
“ Life  in  the  Old  Manor-House.” 

“The  characteristics  ot  Wyburd’s  art  are  principally  a perfect  realization  of  female 
beauty,  an  attractive  manner  in  setting  out  his  figures,  aud  a refinement  of  finish  which  is 
sometimes  carried  almost  to  excess.”  — Art  Journal,  June,  1S77. 

Wylie,  Robert.  (Am.)  Native  of  the  Isle  of  Man.  Taken  to 
America  by  his  parents  when  a child.  Died  in  Brittany,  1877,  aged 
about  forty  years.  He  began  his  art  studies  in  the  Pennsylvania 
Academy  of  Fine  Arts.  Was  a can’er  of  ivory,  but  soon  turned  his 
attention  to  painting,  and  went  to  Europe  in  1865.  In  the  Paris  Sa- 
lon of  1869  he  exhibited  his  “Reading  the  Letter  from  the  Bride- 
groom,” and  received  a medal  for  his  “Breton  Fortune-Teller”  in 
the  Salon  of  1872.  His  works  were  little  known  in  America. 

“ Wylie  was  one  of  the  most  brilliant  membei-s  of  the  American  Colony  of  Artists  in 
Paris.  Nearly  all  of  his  pictures  represent  peasant-women  and  rustic  scenes,  and  there 
is  a truthfulness  shown  that  is  in  the  highest  degree  interesting.”  — Art  Journal,  April, 
1877. 

“The  characteristic  of  Wylie’s  genius  was  his  strength.  The  slightest  sketch  from 

his  pencil  show’s  a -vigorons  and  intelligent  grasp  of  the  subject He  transferred 

to  canvas  the  life  that  was  around  him,  the  Breton  peasant,  the  fisherwoman,  the  sturdy 
toilers  of  the  sea  and  of  the  shore.  His  coloring  and  his  style  were  all  his  own.”  — 
Lucy  Hooper,  Paris  Letter,  March,  1878. 

Wyllie,  W.  L.  {Brit.)  Born  in  London,  1851.  He  studied  art  in 
the  Royal  Academjq  London,  gaining  in  1869  the  Turner  gold  medal 
for  landscape-painting.  He  has  a studio  in  London,  but  spends  much 
of  his  time  upon  the  sea,  making  marine  and  coast  views  a specialty, 
and  introducing  frequently  the  figures  of  sailors  and  fishermen.  He 


ABTISTS  OF  THE  NINETEENTH  CENTURY.  365 


is  a member  of  the  Society  of  British  Artists,  exhibiting  there  and  at 
the  Royal  Academy.  Among  his  works  are,  “Northern  Lights,” 
“ Tracking  in  Holland,”  “ The  Silent  Highway,”  “ Summer  Clouds,” 
“ At  the  ‘ Good  Intent,’  ” “ A Dutch  Canal,”  etc.  To  the.  Paris  Ex- 
position of  1878  he  contributed  “ Sea-Birds.” 

“W.  L.  Wyllie  has  made  a study  of  a wreck  on  the  Goodwin  Sands  [R.  A.,  1874]. 
About  a large  ship  stranded  in  calm  weather  the  sea-birds  are  flying.  The  surface  of 
the  water  just  ripples  with  a fresh  breeze,  and  across  a stormy  sky  the  bright  tints  of  a 
rainbow  pass  and  lighten  the  scene.  Hr.  Wyllie  gives  always  a very  genuine  impression 
of  reality  to  his  se.a-pictures.” — Art  Journal,  August,  1874. 

Wynfield,  David  W.  (^Brit.)  Born,  1837.  Grand  nephew  of 
Sir  D.avid  Wilkie.  Studied  for  the  Church,  but  finally  entered  the 
studio  of  T.  M.  Leigh  in  1856,  devoting  himself  generally  to  historical 
subjects  and  such  as  are  of  a tragic  nature.  He  first  exhibited  in 
1859.  In  1863  he  sent  to  the  Royal  Academy,  “The  Meeting  of  Ed- 
ward IV.  and  Elizabeth  Woodville”  ; in  1864,  “ The  Rival  Queens”; 
in  1865,  “The  Last  Days  of  Elizabeth”;  in  1867,  ‘‘The  Death  of 
Cromwell”;  and  in  1872,  “Murdered  Buckingham.”  Among  his 
works  of  a less  somber  character  are,  “ The  Rich  Widow”  and  “ My 
Lady’s  Boudoir,”  in  1869;  and  “Round  the  Fountain  ” and  “Con- 
fidences,” in  1871.  In  1872  he  exhibited  “The  Arrest  of  Anne 
Boleyn”;  in  1873,  “ The  Ladye’s  Knight ” ; in  1874,  “Instructions 
in  Deportment  ” and  “ The  Visit  from  the  Inquisitors  ” ; in  1875, 
“At  last.  Mother!”  and  “Queen  Elizabeth  and  Essex”;  in  1876, 
“The  New  Curate”  and  “Market  Morning”;  in  1877,  “Harvest 
Decorations,”  “ The  Discovery  of  Gold  in  Australia,”  and  “ David 
playing  before  Saul”;  in  1878,  “Sunny  Hours”  and  “Joseph  mak- 
ing himself  known  to  his  Brethren.”  His  “ New  Curate  ” and  “Death 
of  Buckingham  ” were  at  Paris  in  1878. 

“ The  technical  characteristics  of  Mr.  Wynfield  indicate  carefulness  and  completeness 
of  finish  carried  throughout  the  work,  but  with  due  subordination  determined  by  the 
relative  importance  of  objects  ; great  attention  to  correctness  of  costume  and  conformity 
to  the  best  authority  in  faces  and  all  other  facts  ; an  absence  of  all  bravado  or  display 
of  skill  in  the  manner  of  painting,  leading  sometimes  into  the  vice  of  over-labor  and 
heaviness  of  hand  resulting  in  opacity.  For  the  rest  his  work  is  solid  and  simple,  and 
seems  to  stand  well.”  — Tom  Taylor,  in  English  Artists  of  the  Present  Day. 

“ There  is  no  elaborateness  of  beautiful  detail,  no  trace  of  the  rich  symbolism  which 
characterizes  the  true.  Good  sound  workmanship  the  picture  [‘ The  Ladye’s  Knight,’ 
R.  A.,  1S73]  does  contain,  however,  and  sufficient  mastery  of  expression  to  render  the 
scene  intelligible  and  interesting.  The  color,  as  is  usual  with  this  painter,  fails  of  brill- 
iancy, but  it  is  consistent  throughout  with  a quiet  and  sober  effect.”  — Art  Journal, 
August,  1873. 

Xylander,  W.  {Ger.)  Of  Schleissheim.  Medal  at  Philadelphia, 
where  he  exhibited  “ The  Mouth  of  the  Thames,”  which  was  especially 
commended. 

Yarz,  Edmond.  {Fr.)  Born  at  Toulouse.  At  the  Paris  Salon 
of  1878  he  exhibited  “ Vignes,  aux  environs  de  Toulouse  ” and  “ La 
berge  du  guichet  du  Louvre  ” ; in  1876,  “ Under  the  Apple-Trees  ” 
(belonging  to  M.  Aignette)  and  “ A Cross-Road.” 


366  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Yeames,  William  Frederick,  R.  A.  Bora  in  Southern 

Russia  in  1835.  He  was  educated  in  Dresden  from  1843  to  ’48,  when 
he  went  with  his  family  to  London.  In  1849  he  began  the  study  of 
drawing,  attending  the  anatomical  classes  of  the  University  of  Lon- 
don, and  went  to  Florence  in  1852,  studying  art  and  painting  there  for 
two  years  ; he  then  spent  some  time  in  Rome,  and  settled  finally  in 
London  in  1858.  He  first  exhibited  in  the  Royal  Academy,  in  1859, 
“ The  Stanch  Friend.”  In  1860  he  sent  the  “ Try.stinge  House  ” to 
the  British  Institution.  In  1861  he  had,  at  the  Royal  Academy, 
“Sonnetto”  and  “The  Toilette”;  in  1862,  “ Rescued  ” ; in  1863, 
“The  Meeting  of  Sir  Thomas  More  and  his  Daughter”;  in  1864, 
“Arming  the  Young  Knight”  and  “La  reine  malheureuse.”  In 
1867,  when  he  was  elected  an  Associate  of  the  Royal  Academy,  he 
exhibited  “ The  Dawn  of  the  Reformation  ” and  “ Bread  and  Water”  ; 
in  1868,  “ The  Chimney-Corner”  ; in  1869,  “The  Fugitive  Jacobite”  ; 
in  1870,  “ Maundy  Thursday  ” and  “ Love’s  Young  Dream  ” ; in  1871, 
“ Dr.  Harvey  and  the  Children  of  Charles  1.”  ; in  1872,  “ Old  Parish- 
ioner” and  “A  Rest  by  the  River-Side  ” ; in  1873,  “ The  Path  of 
Roses  ” and  “ Pleading  the  Old  Cause  ” ; in  1874,  “ Flowers  for  Hall 
and  Bower”;  in  1875,  “The  Suitor”;  in  1876,  “The  Last  Bit 
of  Scandal”  ; in  1877,  “Waking,”  “Amy  Robsart,”  and  “The  Fair 
Royalist  ” (a  pastel  .study) ; in  1878,  when  he  was  elected  Academi- 
cian, “ When  did  you  last  see  your  Father  ? ” To  Paris,  in  1878,  he 
sent  several  works. 

“ In  this  carefully  studied  work  [‘  The  Jleeting  of  Sir  Thomas  More  and  his  Daugh- 
ter,’ B.  A.,  1863]  the  attendant  figures,  sympathizing  with  or  officially  indifferent  to  the 
pathos  of  the  situation,  are  more  satisfactory  than  the  daughter.  More  himself,  how- 
ever, is  well  imagined,  although  the  expression  of  his  features  niigtit  have  been  strength- 
ened.” — Palgrave’s  Essays  on  Art,  1863. 

“ Teames  is  a conscientious  and  earnest  artist ; his  gravity  of  conception  and  so- 
briety of  style  he  owes  mainly  no  doubt  to  ins  character  and  temperament,  but  it  has 
been  strengthened  by  his  art  education,  the  best  part  of  which  was  carried  on  in  Flor- 
ence.”— Tom  Taylor,  in  English  Artists  of  the  Present  Day,  1877. 

“ Considering  how  much  of  Yeames’  art  education  was  received  in  continental  schools, 
one  is  surprised  to  see  so  little  of  foreign  influence  in  his  pictures.  His  subjects  are 
essentially  English,  and  his  mode  of  tre.ating  them  is  generally  analogous  to  that  prac- 
ticed in  our  own  school.  lie  is  an  earnest,  intelligent,  vigorous,  yet  painstaking  artist, 
whose  w'orks  merit  the  favor  they  receive  from  our  best  collectors.” — Art  Journal, 
April,  1874. 

Yelland,  R.  D.  (Am.)  Born  in  London  in  1848.  He  has  lived 
in  America  since  1851,  spending  his  professional  life  in  New  York  and 
San  Francisco,  where  his  studio  now  is.  He  studied  in  the  schools  of 
the  National  Academy,  and  under  William  Page,  L.  E.  Wilmarth, 
and  J.  R.  Brevoort.  He  was  elected  an  Associate  of  the  San  Francisco 
Art  Association  in  1874,  and  Assistant  Director  of  the  California 
School  of  Design  in  1877.  He  devotes  himself  to  landscapes  and 
coast  scenery  ; among  his  more  important  works  being  “ Seal  Rocks, 
Golden  Gate,  California  ” and  “Half- Moon  Beach,  Gloucester  Harbor, 
Mass.,”  both  owned  in  San  Francisco. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  367 


Yewell,  George  H.,  A.  N.  A.  (Am.)  American  painter,  living 
for  some  years  in  Rome.  He  studied  in  New  York  under  Thomas 
Hicks,  and  in  Paris  under  Couture.  He  is  an  Associate  of  theNational 
Academy  of  Design.  His  works  rarely  come  to  America.  He  sent, 
however,  to  the  National  Academy,  “Venice,”  in  1871  ; “A  Country 
Girl,”  in  1872  ; and  “ The  Interior  of  St.  Mark’s,  Venice  ” and  “ The 
Interior  of  the  Ducal  Palace,  — Senate  Chamber,”  in  1877.  His 
“Carpet  Bazaar,  Cairo ” and  “ Mosque  of  Kait-Bey,  Cairo  ” were  at 
the  Paris  Exposition  of  1878. 

“ Ycwell  paints  landscapes  and  interior ; the  latter  with  great  fidelity  and  accuracy.” 
— Mrs.  Tytler’s  Modern  Painters. 

“ In  Yewell’s  ‘First  Communion  ’ the  architectural  details  of  the  church  and  t.Iie  sur- 
rounding houses  are  painted  witli  elaborate  care.”  — Tuckermah’s  Boole  of  the  Artists. 

“ ‘The  Senate  Chamber  in  the  Ducal  Palace,  Venice  ’ is  a large  and  brilliant  example 
of  Yewell’s  work.  Tlie  architectural  drawing  is  admirable,  and  every  detail  of  pictorial 
ornamentatioTi,  for  which  the  jialace  is  so  famous,  is  painted  with  conscientiousness  and 
force.”  — Art  Journal,  June,  1875. 

Yon,  Edmond-Charles.  (Fr.)  Born  at  Paris.  Medals  (for  paint- 
ing) in  1875,  (for  engraving  on  wood)  ’74  and  ’72.  He  exhibited  at 
the  Salon  of  1878  (in  oils),  “ A Little  Branch  of  the  Marne,  at  Isle- 
Ifes-Villenoy  ” and  “ Avant  la  pluie  ” ; in  1877,  “ Le  Morin,  it  Villiers” 
and  “ Le  Bas-de- Villiers  ” ; in  1876,  “A  Summer  Day”  and  “The 
Seine,  near  Graven”  ; in  1875,  “A  Branch  of  the  Seine”  and  “ Le 
Petit-Flot,”  two  views  near  Montereau.  Among  his  engravings  are, 
“ La  carte  a payer,”  after  Leroux  ; “ The  Fountain  of  Poul-Goin,”  after 
Anastasi  ; “ La  gardeuse  d’oies,”  after  F.  Millet ; and  a very  large 
number  after  his  own  pictures  and  designs. 

Young,  James  Harvey.  (Am.)  Born  in  Salem,  Mass.,  1830.  He 
studied  under  John  Pope,  a portrait-painter  of  Boston,  and  at  the  age 
of  fourteen  opened  a studio  of  his  own  in  that  city,  painting  portraits 
at  five  dollars  each.  After  an  experience  of  a few  years  in  mercantile 
pursuits,  he  became  a professional  artist  in  Boston  in  1858,  where  he 
lias  since  lived.  He  devotes  himself  to  portrait-painting,  but  seldom 
exhibits  in  public.  He  was  for  some  years  a member  of  the  Boston 
Art  Club,  and  from  1861  to  ’71  was  Director  of  the  Fine  Art  Ex- 
hibitions at  the  Boston  Museum.  Among  his  better  known  works 
are  portraits  of  Edward  Everett  ^(belonging  to  Mrs.  E.  B.  Everett), 
William  Warren,  W.  H.  Prescott  and  Horace  Mann  (in  the  Salem 
Normal  School),  Ellsworth  and  Brownell  (belonging  to  the  Salem 
Independent  Cadets),  General  Townsend  (Soldiers’  Home,  near  Wash- 
ington), Thatcher  Magoun  (for  the  town  of  Medford),  Barnas  Sears, 
Professor  Whitney  (in  the  Newton  Theological  Seminary),  several 
of  the  Secretaries  of  State  of  the  United  States  (now  in  the  State 
Department,  Washington),  and  of  many  private  individuals.  Mrs. 
George  Livermore  of  Cambridge  oivns  a half-length  cabinet-sized 
portrait  of  Everett,  and  a head  of  the  same  statesman  is  in  the  Boston 
Public  Librar3^ 


368  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Young,  Harvey.  (Am.)  A native  of  Vermont.  He  studied  in 
Paris  under  Carolus  Duran,  sending  to  the  Salon  of  1878  “ Spring  ” 
and  “The  Environs  of  Greg.”  His  specialty  is  landscapes,  and  he 
has  painted  many  scenes  in  California,  where  part  of  his  professional 
life  has  been  spent. 

Yvon,  Adolphe.  (Fr.)  Bom  at  Eschwiller,  1817.  Officer  of  the 
Legion  of  Honor.  Pupil  of  Paul  Delaroche.  This  painter  made  his 
debut  at  the  Salon  of  1842,  when  he  exhibited  his  portrait  of  Mme. 
Ancelot.  The  next  year  he  went  to  Russia,  and  from  there  sent  sev- 
eral pictures  to  the  Salons.  He  received  his  first  medal  in  1848,  and 
gradually  ascended  the  scale  of  honors  until,  in  1867,  he  wa.s  made  an 
Otiicer  of  the  Legion  of  Honor.  He  was  the  only  artist  sent  officially 
to  the  Crimea,  and  his  picture  of  the  “ Taking  of  the  Tower  of  Mala- 
koff”  (seen  at  the  Exposition  of  1867)  holds  an  honorable  place 
among  the  representations  of  modem  battles  in  the  Gallery  at  Ver- 
sailles. His  principal  works  are,  “Portrait  of  General  Xeumayer” 
(1814)  ; “The  Remorse  of  Judas”  (1846)  ; “Battle  of  Koulikowo  ” 
(1850) ; “ A Fallen  Angel  ” (1852) ; “ The  First  Consul  descending  the 
Alps  ” (1853),  at  the  palace  of  Compiegne;  “ Marshal  Xey  supporting 
the  Rear-Guard  in  Russia  ” and  “ The  Seven  Capital  Scenes,”  illustra- 
tions of  Dante  (1855)  ; “Battle  of  Solferino”  and  a “Portrait  of  the 
Prince  Imperial”  (1861) ; “The  United  States  of  America”  (1870), 
an  allegorical  picture,  purchased  by  the  late  Mr.  Stewart  of  Xew 
York  ; “ A Street  in  Constantinople  ” and  “ Secrets  of  State  ” (1873)  ; 
“ Portrait  of  the  Countess  of  Caen”  (1875)  ; and  several  portraits  in 
1876  and  ’77. 

“ His  [Tvon’s]  pictures  ai-e  full  of  movement,  and  the  painting  is  sober  and  straight- 
fonvard,  quite  free  from  every  kind  of  affectation  ; it  has,  however,  very  little  interest 
derived  from  intellect  or  feeling.”  — Hamerton’s  Contemporary  French  Painters. 

‘‘Another  series  of  cartoons,  in  a grand  style  of  model  rlrawing,  and  daring  in  the 
vigor  of  their  design,  is  Rage,  Lust,  Avarice,  Gluttony,  En%-y,  Idleness,  and  Pride,  after 
Dante,  by  M.  Yvon.  The  same  artist’s  enormous  oil-picture  of  ‘ Marshal  Mey  heading 
the  Rear-Guard  of  the  Grand  Army  in  the  Retreat  from  Russia’  is  one  of  those  night- 
mare displays  of  physical  energy  and  horror  w’hich  the  French  painters  affect,  and  in 
which  the  Englishman  scarcely  knows  whether  most  to  wonder  at  the  display  of  force 
or  reprobate  the  unalloyed  and  valuele.ss  monstrosity.” — William  Michael  Rossetti, 
Fine  Art,  chiefly  Contemporary,  1867.  ^ 

Zacharie,  Philippe-Brnest.  (Fr.)  Bom  at  Radepont.  Pupil  of 
M.  G.  Morin.  At  the  Salon  of  1878  he  exhibited  “ The  Good  Samar- 
itan’' ; in  1877,  “The  Punishment  of  Caiaphas”  and  “The  loung 
Amateur”  ; in  1876,  “The  Evening  of  the  Epiphany ’’and  “Field- 
Flowers”  ; and  in  1875,  “Un  vieux  houq^uiniste.” 

Zamacois,  Edouard.  (Span.)  Bom  at  Bilboa  (about  1840  - 
1871).  Medal  at  Paris,  1867.  Pupil  of  Meissonier.  Made  his  debut 
at  the  Salon  of  1863,  with  the  “ Enlisting  of  Cervantes  ” and  “ Dide- 
rot and  D’Alembert.”  In  1864  he  exhibited  “ Conscripts  in  Spain  ” ; 
in  1866,  “ The  Entrance  of  the  Toreros  ” (painted  in  part  by  Vibert) 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  369 


and  “ The  First  Sword  ” ; in  1867,  “ A Buffoon  of  the  Sixteenth 
Century,”  “ Indirect  Contribution  ” (purchased  by  Mr.  Matthews), 
and  a water-color  of  “A  Jester  of  the  Sixteenth  Century”  ; in  1868, 
“ The  Favorite  of  the  King  ” (purchased  by  Mr,  Stewart)  and  the  “ Re- 
fectory of  the  Trinitaires  at  Rome  ” ; in  1869,  “ The  Entrance  to  the 
Convent  ” (being  a monk  urging  on  an  obstinate  ass,  loaded  with  pro- 
visions) and  “ A Good  Pastor  ” (a  priest  in  the  confessional  giving  in- 
dulgences to  the  pretty  girls  kneehng  about  him,  to  the  disgust  of  an 
ugly  one  near  by)  ; in  1870,  “ Platonic  Love  ” (a  negro  making  a 
declaration  to  the  marble  bust  of  a woman)  and  “ The  Education  of 
a Prince  ” (which  represents  a Spanish  prince  of  three  years  seated  on 
a rug,  playing  with  toy  soldiers,  while  the  king,  cardinal,  bishop,  and 
priests,  with  the  courtiers,  look  on  admiringly).  A “ Figure  ” by  this 
painter  is  in  the  collection  of  Mrs.  H.  E.  Maynard  of  Boston.  At  the 
Johnston  sale.  New  York,  1876,  “The  Puzzled  Musician”  (6  by  5) 
sold  for  $ 900,  “ The  Two  Confessors  ” (18  by  25)  for  $ 6,500,  and  a 
water-color,  “ Waiting  at  the  Church  Porch  ” (14  by  10),  for  $ 900. 
Mr.  Walters  of  Baltimore  has  a good  picture  by  Zamacois,  which  he 
purchased  from  the  widow  of  the  artist.  Mr.  H.  P.  Kidder  of  Boston 
owns  his  “ Faust  and  Marguerite.” 

“ This  picture  [‘The  Education  of  a Prince ’]  of  Zamacois  is  a painted  recitation,  a 
page  of  memory  taking  on  bustle  and  life.  His  keen,  expressive  brush  is  brilliant  with- 
out false  glitter ; a mocker  without  grimace,  it  traces  characters  as  would  the  pen  of 
the  most  skillful  chronicler.  The  spirit  of  touch,  sharpened  by  the  spirit  of  observation, 
could  not  siieak  better,  or  better  represent  itself.  ” — Paul  de  Saint-Victor,  in  Diction- 
naire  Universel  (Larousse). 

“ Of  the  recent  men  in  French  art  who  have  distinguished  themselves  by  novelty  of 
subject  and  elaboration  of  maimer,  Zamacois  is  not  the  least  noteworthy  ; he,  in  fact, 
holds  the  attention  best,  and,  with  Vibert,  excites  the  most  lively  interest  among  ama- 
teurs of  painting.  Vibert  and  Zamacois  are  to  the  Parisian  picture-fanciers,  to-day, 
wh.at  Meissonier  and  Gerome  were  yesterday, —the  novelty  and  the  perfection  of  art. 
If  one  can  reproach  Meissonier  with  a w.ant  of  wit,  if  one  can  assert  unrebuked  that  his 
carefully  wrought  casket  is  empty,  or  at  best  holds  trivial  stuff,  such  is  not  the  reproach 
one  can  make  to  Zamacois.  Z.amacois,  with  a manner  almost  as  perfect  as  Meissonier’s, 
is  a satirist ; he  is  a man  of  wit,  whose  means  of  expression  is  comparable  to  a jeweled 
and  dazzling  weapon,  — so  much  so  that,  to  express  his  rich  and  intense  color,  his  pol- 
ished style,  he  has  been  said  to  embroider  his  coarse  canvas  with  pearls,  diamonds,  and 
emeralds.  I should  suggest  the  form  and  substance  of  his  works  as  a painter,  by  say- 
ing that  he  h.as  done  what  Brorvning  did  as  a poet  when  he  wrote  the  ‘ Soliloquy  of 
the  Spanish  Cloister’;  what  Victor  Hugo  has  done  in  portraying  dwarfs  and  hunch- 
backs ; but  with  this  difference,  that  what  is  en  grand  and  awful  in  Hugo  is  small, 
elaborated,  and  amusing  in  Zamacois.  Zamacois  seeks  his  subjects  in  the  sixteenth 
and  seventeenth  centuries,  and  in  the  life  of  monks  and  friars  and  priests  in  modern 
Italy.  It  is  manifest  that  Zamacois  admires  Jloliere,  that  he  appreci,ates  the  pictu- 
resque side  of  Victor  Hugo’s  genius.  He  may  be  said  to  enamel  the  hardy  creations  of 
the  poet  of  the  incongruous,  and  to  reduce  them  in  a style  so  delicate  and  precious  that 
one’s  admiration  .and  curiosity  are  in  ami.able  conflict  over  the  novelty  of  the  subject 
and  the  perfection  of  the  representation.  For  it  was  novel  to  see  a group  of  hunch- 
backs and  dwarfs  in  the  antechamber  of  a king,  all  clad  in  sheeny  vesture,  intense  of 
hue  like  the  plumage  of  tropical  birds,  in  clear  and  glowing  colors  like  carbuncles  and 
emeralds  and  rubies,  and  rendered  in  a m.anner  fine  and  elaborate  enough  to  represent 
16*  X 


370  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


the  white  skin,  and  pretty  round  arms,  and  perfect  hands  of  the  Marquise  de  Pompa- 
dour ; it  was  a novelty  to  see  a group  of  deformed  beings,  painted  with  as  much  care 
and  clothed  with  as  much  splendor  as  a group  of  fair  women.  The  pictures  of  Zama- 
cois  liad  the  attraction  of  the  bizarre  and  the  perfect.  The  picturesque,  the  grotesque, 
the  elaborate,  all  in  one  frame  ; this  was  more  than  the  severe  Geronie  gave  in  liis  stud- 
ied sensualities,  more  than  the  dry  and  j>rosaic  Meissonier  gave  in  his  studies  of  cos- 
tume and  character Zamacois  may  be  said  to  understand  art  not  as  a grand  and 

noble  means  of  expression,  but  as  a fine  and  perfect  and  precious  expression.  He  does 
with  form  and  color  what  Tennyson  does  with  words, — that  is  to  say,  he  combines 
tliem  in  a studied  and  jeweled  style,  to  express  his  i>Ieasure  in  intense  and  brilliant 
things.  But  the  French  painter  has  wit,  and  no  one  would  accuse  Tennyson  of  that 
Gallic  trait.  Therefore,  to  make  you  acquainted  with  Zamacois,  I must  say  he  has  a 
suspicion  of  malice  that  must  be  delightful  to  the  compatnots  of  Voltaire,  tliat  he  is 
bold  and  positive  in  his  conceptions,  and  fine  and  elaborate  in  his  expressions.  But  he 
is  a painter  of  character  rather  than  a creator  of  the  beautiful ; he  is  a comic  artist  and 
not  an  idealist ; he  puts  a farce  before  your  eyes  in  a setting  of  jewels.  Zamacois  is 
kindred  to  Molicre.  If  you  could  suppose  something  of  Moliere’s  genius  embodied  in  a 
series  of  sonnets,  you  would  liave  a just  literar)’’  expression  of  Zamacois  as  a painter. 
One  is  surprised  to  find  so  much  of  the  comic  in  a style  so  finished  and  brilliant,  and  it 
is  this  which  is  the  distinction  of  Zamacois  ; it  is  this  which  separates  him  from  a 
crowd  of  skillful  and  talented  French  painters  of  genre.  The  purity  and  intensity  of  his 
color,  of  which  I have  spoken,  are  so  remarkable  that  they  suffice  to  distinguish  him 

from  all  liis  contemporaries,  and  even  make  him  the  superior  of  Viberf Such 

art  as  Zamacois’  comes  very  close  to  a cultivated  man  without  placing  in  his  mind 
one  suggestion  of  the  noble  or  the  beautiful.  In  this  respect  it  is  contemporary,  and 
far  from  Greek  sculpture  and  Italian  painting.  Instead  of  the  ideal,  it  gives  the  exqui- 
site ; instead  of  the  noble  the  comical.  It  is  the  difference  between  a comedy  of  Molicre 
and  a tragedy  of  Euripides.  We  enjoy  the  comedy;  it  gratifies  our  curiosity, — the 
most  universal  passion  ; but  we  are  impressed  by  the  tragedy  ; it  holds  our  imagination 
brooding  over  the  despotic  and  fatal  evolution  of  human  passion.  I prefer  the  pagan 
idea  of  arf  to  the  latest  contemporary  French  idea  of  art,  as  illustrated  by  Zamacois, 
because  I prefer  liledea  to  Tartuffe.  It  may  be  said  of  Zamacois,  that  he  has  been  more 
successful  in  treating  seventeenth-century  subjects  than  the  more  widely  celebrated 
Gerome,  who  has  repeatedly  sought  to  i)luck  artistic  honors  from  the  contemporaries  of 
Molicre.”  — Eugene  Benson,  Art  Joumial,  1S69. 

Zetterstrbm,  Mme.  M.  (Swede.)  Born  at  Gefle.  Pupil  of  the 
Acacleinie  cles  Beaux-Arts  of  Stockholm.  At  the  Salon  of  1878  she 
exhibited  “A  Prelude  ” and  “A  Swedish  Peasant-Woman  ” ; in  1877, 
“A  Swedish  Song”;  in  1876,  “Une  visite  en  passant,  — interieur 
laponais  ” ; and  in  1875,  “A  Lapland  Interior.” 

Zezzos,  Alessandro.  (Ital.)  Pupil  of  the  Academy  of  Venice. 
This  artist  sent  to  the  Paris  Exposition,  1878,  “ The  Pigeons  of  Saint 
Mark,”  and  to  the  Paris  Salon,  same  year,  “ El-Maznima  (niouchoir 
du  Sultan)  ” ; and  in  1877,  “ Les  saltimbanques  ” and  “ A Venetian, 
— a Daughter  of  the  People.” 

Ziem,  Felix.  (Fr.)  Born  at  Beaume,  about  1822.  Chevalier  of 
the  Legion  of  Honor.  Studied  in  Paris.  Traveled  in  the  East,  and 
made  his  debut  at  the  Salon  of  1849.  His  “ View  of  Venice  ” (1852) 
is  in  the  Luxembourg  ; “Evening  at  Venice”  (1854)  was  purchased 
by  the  Duke  de  Morny  ; “ View  of  Antwerp  ” (1855)  was  purchased 
by  the  government.  In  1868  he  exhibited  “Venice,  — a Party  of 
Pleasure  ” and  “ Marseilles,  — View  at  the  Old  Port  ” ; in  1867,  “ The 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  371 


Bncentaur  adorned  for  the  Ceremony  of  the  Marriage  of  the  Doge 
with  the  Adriatic,  Venice,  1426,”  and  “ Carmagnola,  accused  of  High 
Treason  by  the  Venetians  and  beheaded  under  the  Lion  of  St.  Mark, 
Venice,  1422”;  in  1866,  “Venice, — a September  Evening  after  a 
Eain”  and  “ Constantinople, — Setting  Sun.”  Ziem  repeats  his  subjects 
over  and  over  again.  He  has  made  some  sketches,  water-colors,  fruit- 
pieces,  etc.  At  the  Johnston  sale,  “ Venice  at  Sunset,  — Entrance  to 
the  Grand  Canal,”  from  the  Wolfe  sale  (27  by  42),  sold  for  $ 1,510. 
At  the  Norzy  sale,  Paris,  1860,  “ View  of  the  Grand  Canal  ” sold  for 
3,880  francs.  At  the  Laurent-Richard  sale,  Paris,  1873,  “ Stamboul  ” 
and  “Venice”  sold  for  ^480  each.  At  the  Corcoran  Gallery  is 
“ Constantinople  from  the  Golden  Horn,”  1874. 

“ Ziem  is  obliged  to  conceal  the  insufficiency  of  his  design  in  an  agreeable  vapor.  He 
has  grace  without  tirmness  ; his  earth  and  his  inoiiuinents  undulate  in  the  wave  : he  has 
never  known  how  to  fix  a silhouette.  His  pictures  are  like  some  of  the  works  of  Isabey 
the  chatoyant,  a little  strengthened  and  refined  by  the  example  of  Canaletto.  It  is  not 
that  Ziem  is  a mediocre  artist.  He  excels  in  mirroring  the  most  brilliant  colors  in  a 
canal. 

‘ Le  moindre  vent  qui  d’aventure 
Fait  rider  la  face  de  I’eau  ’ 

(‘  The  least  wind  which  perchance  ruffles  the  face  of  the  water  ’)  furnishes  a delicious 
matter  for  his  brush.  His  marines  give  us  that  delectable  little  shivering  with  which  we 
are  seized  when  we  step  on  a boat.  But  Ziem  would  give  us  more  durable  and  deeper 
pleasures  if  he  would  design  only  like  Joyant.”  — Edmond  About,  Nos  Artistes  au  Salon 
de  1857. 

“ Among  the  artist  travelers  who  have  known  how  to  conquer  public  favor,  Ziem  occu- 
pies a place  apart.  He  sees  with  indifference  the  rocks,  the  plains,  or  the  forests,  and  is 
arrested  by  choice  in  the  great  maritime  cities  which  mirror  in  the  water  their  edifices 
gilded  by  the  sun  of  the  South.  He  is  a painter  of  architecture  as  well  as  a painter  of 
marines,  who  willingly  takes  a siesta  at  noonday,  and  wishes  to  see  nature  only  as  twi- 
light ai)proaches.  The  two  pictures  in  the  Laurent-Richard  Collection  are  among  his 
most  important  works,  .md  are  sufficient  to  justify  the  rank  which  he  holds  in  art. 

“ Here  is  Constantinople  unrolling  itself  in  an  amphitheater,  while  the  sun  appears 
like  a brilliant  disc  which  is  reflected  in  the  waters  of  the  Bosphorus,  and  bathes  in  a 
luminous  vajior  the  domes  and  minarets  of  the  great  city  On  one  side  we  see  the  point 
of  the  Seraglio,  the  ancient  kiosque  of  the  Janissaries,  the  mosque  of  Bajazet,  and  the 
great  wails  which  inclose  the  Golden  Horn.  On  the  other  hand,  we  catch  a glimi)se  of 
the  coast  of  Asia  and  the  first  buildings  in  Scutari.  A white  sail,  and  some  long-boats 
manned  with  rowers,  lose  themselves  on  a ruddy  beach  in  the  first  jilane. 

“ Lost  in  the  midst  of  the  lagunes  of  the  Adriatic,  Venice,  the  city  of  enchantments, 
so  dear  to  poets  and  travelers,  lias  such  a fascination  for  Ziem,  that  in  contemiioraneous 
art  it  has  become  a sort  of  monopoly  for  his  talent,  so  much  so  that  one  experiences  an 
involuntary  astonishment  upon  seeing  a view  of  Venice  not  signed  with  his  name.  But 
his  interpretation  of  Venice  is  so  personal  that  one  could  not  deceive  himself  long  con- 
cerning it  In  the  Collection  Laurent-Richard,  Venice  appears  to  us  in  an  autumn  even- 
ing. It  has  rained  all  day  ; but  the  sky,  now  cleared,  is  only  traversed  by  some  light 
clouds  of  an  orange  tint,  which  the  movement  of  the  waves  reflects,  mingling  it  with  the 
purple  shades  of  the  setting  sun.  The  grand  Campanile  of  St.  Mark  raises  itself  in  the 
distance  above  the  horizon,  and  the  edifices  of  the  quay  mark  their  silhouettes  in  a golden 
light,  while  gondolas  thread  their  way  over  the  grand  canal,  and  some  fishers’  b;irks 
are  placed  in  order  to  throw  the  nets.”  — Ren^:  M£nard,  Gazette  des  Beaux-Arts,  April, 
1873. 


372  ARTISTS  OF  THE  NINETEENTH  CENTURY. 


Zier,  Edouard.  (Fr.)  Born  at  Paris.  Pupil  of  his  father  and 
of  Gerome.  Medal  at  Philadelphia,  where  he  exhibited  “ Julia.”  At 
Paris,  in  1877,  were  “The  Departure  of  Judith”  and  “Acis  and 
Galatea.” 

Zimmermann,  Albrecht.  (G«r.)  Professor  of  landscape-painting 
at  Vienna.  A picture  of  a “ Waterfall  ” is  in  the  Munich  Pinako- 
thek  ; also,  “ A Fine,  Eocky  Landscape,  with  Centaurs  Wrestling.” 
Among  his  works  are,  “ The  Mountain  Precipice  ” and  several  fine 
pictures  from  the  vicinity  of  the  Obersee.  His  pictures  illustrative  of 
Faust  and  his  Biblical  subjects  are  fine,  and  he  succeeds  in  giving  the 
warm  tone  to  Southern  scenes  and  the  cold  feeling  to  Northern 
climes  with  equal  truth  and  happiness  of  effect. 

Zocchi,  Emilio.  (Ital.)  Of  Florence.  Professor  of  the  Academy 
of  Fine  Arts.  At  Philadelphia  he  exhibited  “ Michael  Angelo  sculp- 
turing the  Head  of  a Faun,”  “ Benjamin  Franklin  in  his  Youth,” 
“ Columbus  in  his  Youth,”  “ Bacchus,”  and  “The  Youth  of  Michael 
Angelo,”  and  received  a medal. 

Zuber,  Jean-HenrL  {Alsatian.)  Born  at  Eixheim.  Pupil  of 
Gleyre.  Medal  of  the  second  class  in  1878,  when  he  exhibited 
“ Dante  and  Virgil  ” and  an  “ Autumn  Evening,  — Ille-et-Vilaine  ” ; 
in  1877  he  exhibited  “ A Flock  of  Geese  at  Seppois-le-Haut  ” and 
“ The  Banks  of  the  111  at  Fislis,  Upper  Alsace  ” ; in  1876,  “ Even- 
ing on  the  Heath,  near  Dinard,”  and  “ Les  cherche.urs  de  marne, 
maree  basse  dans  I’anse  de  Dinard.” 

Zuber-Buhler,  Fritz.  (Swiss.)  Born  at  Lode.  Pupil  of  Picot 
and  Gros-Claude.  At  Philadelphia  he  exhibited  “ The  Dew,”  and 
received  a medal.  At  the  Salon  of  1877  he  exhibited  “ The  Birth  of 
Venus.” 

Zuccoli,  Luigi.  (Ital.)  Born  at  Milan.  Died,  1876.  Member 
of  the  Academy  of  Milan.  A painter  of  scenes  from  popular  life  in 
Italy.  He  composed  with  taste,  drew  well,  and  showed  a fine,  deli- 
cate fancy.  His  works  were  admired  in  Italian,  French,  and  Belgian 
Salons.  In  1870  he  exhibited  at  the  Paris  Salon,  “ A Wedding  Pres- 
ent” ; in  1869,  “Breakfast  of  the  Poor”  and  “A  Wedding  Banquet, 
— Roman  Campagna”;  in  1867,  “A  Card- Party  at  an  Inn.”  At  the 
London  Academy  in  1871  he  exhibited  “ Peasantry  relating  a Dread- 
ful Scene  of  the  Neapolitan  Brigands.” 

Ziigel,  Heinrich  Johann.  (Ger.)  Born  at  Murrhardt,  1850. 
Studied  at  the  Art  School  at  Stuttgart,  and  in  1873  was  for  some 
months  in  Vienna.  He  resides  in  Munich.  At  the  Berlin  National 
Gallery  is  his  “ Sheep  in  an  Alder  Grove.” 

Zuliani,  Jean.  (Ital.)  Born  at  Verona.  To  the  Paris  Exposi- 
tion of  1878  he  sent  “ A Marriage  of  State,”  and  to  the  Paris  Salon 
of  1876,  “ The  Rehearsal,”  a scene  in  the  palace  of  Cardinal  Richelieu. 

Zumbusch,  Caspar.  (Ger.)  Of  Vienna.  At  Philadelphia  he 
exhibited  “ A Marble  Bust  of  the  Emperor  of  Austria,”  and  received 
a medal. 


ARTISTS  OF  THE  NINETEENTH  CENTURY.  373 


Zwirner,  Ernest  Frederic.  (^Silesian.')  Born  at  Jacobswald 
(1802-1861).  President  of  the  Council  of  Architecture  for  the 
Province  of  Cologne,  and  Councilor  of  the  Prussian  Government.  In 
1824  he  went  to  the  Academy  of  Berlin  to  study  architecture  ; he 
was  there  remarked  by  Schinkel,  who  attached  him  to  himself  and  his 
interests  for  several  years.  In  1853  Zwirner  was  named  architect  of 
the  Cathedral  of  Cologne,  and  entered  into  his  work  with  such  a 
spirit  that  he  inspired  King  William  IV.  and  the  people  at  large  with 
a desire  that  this  magnificent  edifice  should  be  completed,  for  which 
he  merits,  and  will  receive,  the  gratitude  of  this  and  future  genera- 
tions. 


m)EX  TO  AUTHORITIES  QUOTED. 


About,  E.,  Vol.  1.  41,  91,  120,  130,  164,  178,  185,  201,  257,  268,  291,  342, 
351  ; Vol.  II.  7,  91,  120,  160,  195,  226,  227,  327,  353,  357,  371. 

Albion,  The,  Vol.  II.  71. 

Aldine,  The,  Vol.  I.  142  ; Vol.  II.  103,  129. 

Alger’s  Life  of  Forrest,  Vol.  I.  31. 

American  Journal,  Vol.  I.  12. 

American  Eegister  (Paris),  Vol.  I.  94,  289  ; Vol.  II.  90,  174. 

Appleton,  Nathan,  Vol.  I.  262. 

Appletons’  Journal,  Vol.  I.  56  ; Vol.  II.  52,  109. 

Art  Journal,  Vol.  I.  18,  22,  23,  25,  30,  42,  43,  45,  53,  54,  62,  72,  77,  79,  84, 
85,  87,  88,  93,  94,  95,  96,  99,  101,  103,  115,  123,  126,  127,  145,  148,  154, 
168,  175,  187,  192,  209,  210,  216,  218,  223,  229,  231,  233,  235,  241,  244, 
245,  247,  248,  253,  254,  255,  259,  265,  269,  272,  273,  274,  276,  277,  280, 
286,  294,  296,  298,  299,  304,  305,  308,  309,  310,  312,  313,  322,  324,  326, 
327,  331,  334,  335,  337,  339,  340,  344,  346,  347,  348,  350,  352,  354,  356, 
358,  361,  363,  364,  366,  368,  372,  374,  376,  383,  384  ; Vol.  II.  13,  15, 
17,  25,  33,  38,  44,  47,  53,  54,  55,  62,  63,  66,  68,  72,  75,  78,  79,  84,  90, 
94,  96,  98,  103,  104,  105,  106,  112,  116,  122,  124,  126,  130,  131,  132, 
133,  135,  137,  139,  140,  142,  149,  150,  151,  152,  153,  156,  157,  158,  160, 
164,  167,  170,  174,  175,  178,  183,  186,  187,  189,  190,  192,  194,  197,  198, 
199,  200,  202,  205,  207,  210,  211,  217,  219,  220,  222,  223,  232,  233,  234, 
236,  241,  246,  255,  256,  257,  259,  261,  262,  266,  274,  275,  277,  278,  285, 
293,  301,  309,  310,  321,  329,  330,  331,  333,  334,  335,  343,  344,  345,  347, 
349,  355,  356,  360,  361,  363,  365,  366. 

Art  Monthly  Pveview,  Vol.  II.  272. 

Art  Tour  in  Northern  Capitals  of  Europe,  Vol.  I.  27,  57. 

Atkinson,  J.  Beavington,  Vol.  I.  27,  54,  57,  158,  298,  317,  352  ; Vol.  II. 
20,  63,  89,  94,  158,  183,  338. 

Atlantic  Monthly,  Vol.  I.  11,  28,  55,  56,  103,  277,  375  ; Vol.  II.  259,  326. 


Balln,  Eoger,  Vol.  I.  35,  40,  205,  247,  268,  345  ; Vol.  II.  34,  41,  287,  327. 
Baltic  Gazette,  Vol.  II.  283. 

Baltimore  American,  Vol.  II.  14. 

Baltimore  Every  Satui'day,  Vol.  II.  339. 

Baltimore  Gazette,  Vol.  II.  128,  282. 

Baudelaire,  Charles,  Vol.  II.  16. 


2 


INDEX  TO  AUTHORITIES  QUOTED. 


Baxter,  Mr.  Sylvester,  Vol.  I.  68. 

Benjamin’s  Contemporary  Art  in  Europe,  Vol.  I.  23,  45,  46,  68,  73,  91, 
109,  160,  185,  191,  202,  214,  222,  239,  245,  254,  282,  298,  320,  322  ; 
Vol.  II.  54,  55,  68,  69,  79,  100,  116,  120,  155,  157,  166,  182,  204,  256, 
293,  299,  344. 

Benson,  Eugene,  Vol.  I.  42  ; Vol.  II.  52,  109,  370. 

Berger,  Georges,  Vol.  II.  298. 

Bergerat,  Emile,  Vol.  I.  53,  86. 

Blackwood’s  Magazine,  Vol.  I.  327. 

Blanc,  Charles,  Vol.  I.  229,  256,  297,  382  ; Vol.  II.  93. 

Bonnin,  A.,  Vol.  I.  81,  219. 

Boston  Advertiser,  Vol.  I.  52,  68,  85,  175,  193,  203,  260,  325,  367 ; Vol. 

II.  3,  191,  220,  227,  232,  267,  276,  293,  326,  341. 

Boston  Globe,  Vol.  I.  262  ; Vol.  II.  175,  292. 

Boston  Herald,  Vol.  I.  307  ; Vol.  II.  39. 

Boston  Post,  Vol.  I.  330  ; Vol.  II.  250,  263. 

Boston  Saturday  Gazette,  Vol.  II.  22,  129. 

Boston  Sunday  Times,  Vol.  I.  311. 

Boston  Transcript,  Vol.  I.  15,  142,  199,  281,  332  ; Vol.  II.  2,  39,  103,  123, 
175,  191,  262,  293. 

Boston  Traveller,  Vol.  II.  39,  188. 

Brewster,  Miss  Anne,  Vol.  I.  270;  Vol.  II.  60,  323. 

Brooklyn  Eagle,  Vol.  II.  163. 

Brooklyn  Union,  Vol.  II.  104. 

Brown,  Dr.  John  (in  Spare  Hours),  Vol.  II.  49,  286,  305  ; (in  Xorth  Brit- 
ish Review)  Vol.  II.  229. 

Bryant’s  Oration,  Vol.  I.  144. 

Buffalo  Courier,  Vol.  II.  127. 

Burty,  Philippe,  Vol.  I.  371  ; Vol.  II.  109. 

Carr,  J.  \V.  Comyns,  Vol.  I.  265,  346  ; Vol.  II.  88. 

C.  C.  in  Hew  York  Tribune,  Vol.  II.  76,  129. 

Chenier,  Vol.  II.  243. 

Chicago  Times,  Vol.  II.  76,  174,  251. 

Chicago  Tribune,  Vol.  II.  145. 

Chronique  des  Arts,  Vol.  I.  385. 

Cincinnati  Commercial,  Vol.  I.  243. 

Claretie,  Jules,  Vol.  I.  120,  122,  307,  343  ; Vol.  11.  42. 

Clement  Je  Ris,  L.,  Vol.  II.  184. 

Clement,  Mrs.  C.  E.,  Vol.  II.  64. 

Cleveland  Leader,  Vol.  I.  243. 

Colvin,  Sidney,  Vol.  I.  24,  79,  101,  109  ; Vol.  II.  126,  192,  330. 
Contemporary  Art  in  Europe,  S.  G.  VT.  Benjamin,  Vol.  I.  23,  45,  46,  68, 
73,  91,  109,  160,  185,  191,  202,  214,  222,  239,  245,  254,  282,  298,  320, 
322  ; Vol.  II.  54,  55,  68,  69,  79,  100,  116,  120,  155,  157,  166,  182,  204, 
256,  293,  299,  344. 

Contemporary  French  Painters,  Vol.  I.  189. 

Contemporary  Review,  Vol.  II.  95. 

Conway,  Moncure  D.,  Vol.  I.  8,  345. 


INDEX  TO  AUTHORITIES  QUOTED. 


3 


Cook,  Clarence,  Vol.  I.  133. 

Courrier  Artistique,  Vol.  II.  245. 

Critique  of  tlie  Brussels  Exposition  of  1874,  Vol.  II.  68. 

D’Abrest,  Paul,  Vol.  II.  6. 

Dafforue,  James,  Vol.  I.  280,  368;  Vol.  II.  27,  68,  80,  352. 

Delaborde,  Henri,  Vol.  I.  13. 

De  Saint-Santin,  Vol.  I.  90. 

Drumont,  Edouard,  Vol.  II.  240. 

Duplessis,  Georges,  Vol.  I.  202. 

Duranty,  Vol.  I.  247  ; Vol.  II.  58. 

Duvergier  de  Hauranne,  Vol.  I.  92,  130,  190,  226,  319  ; Vol.  II.  34,  65, 
99,  147. 

Edinburgb  Courant,  Vol.  II.  286. 

El  Diritto,  Pome,  Vol.  I.  243. 

English  Artists  of  the  Present  Day,  Vol.  I.  24,  79. 

Epochs  of  Painting,  Vol.  I.  174,  181,  242  ; Vol.  II.  61,  274,  305. 

Etching  and  Etchers,  Vol.  I.  18,  155,  172,  176,  256,  327,  364,  366  ; Vol. 

II.  17,  32,  161,  203,  284. 

Every  Saturday,  Vol.  I.  20,  166. 

Figaro,  Paris,  Vol.  I.  94. 

Figaro,  Supplement  to,  Vol.  II.  240. 

Fine  Arts  Quarterly,  Vol.  I.  105. 

Floerke,  Gustav,  Vol.  I.  68. 

Flor,  Charles,  Vol.  II.  181. 

Fol,  Walter,  Vol.  I.  265,  329. 

Forest  and  Stream,  Vol.  II.  303. 

Fors  Clavigera,  Vol.  II.  346. 

Forster,  Dr.,  Vol.  II.  145. 

Fortnightly  Review,  Vol.  I.  375  ; Vol.  II.  182. 

Francis,  Dr.,  Vol.  I.  15,  184. 

Fraser’s  Magazine,  Vol.  II.  230,  306. 

Galaxjq  The,  Vol.  I.  56. 

Galerie  Contemporaine,  Vol.  I.  86,  226  ; Vol.  II.  181. 

Gautier,  Theophile,  Vol.  I.  8,  13,  15,  20,  51,  74,  92,  97,  112,  185,  221, 
225,  268,  290,  301  ; Vol.  II.  92,  93,  101,  108,  120,  183,  245,  273. 
Gazette  des  Beaux-Arts,  Vol.  I.  1,  13,  35,  40,  41,  69,  90,  97,  136,  139,  197, 

202,  205,  213,  225,  247,  252,  265,  276,  289,  291,  297,  302,  329,  332,  345, 

371,  382  ; Vol.  II.  34,  41,  51,  55,  58,  78,  88,  108,  109,  111,  125,  160, 

170,  172,  184,  197,  204,  215,  226,  239,  273,  287,  298,  299,  320,  327,  359, 

371. 

Gems  of  Modern  Belgian  Art,  Vol.  II.  316. 

Geschichte  der  hildenden  Kunste  im  neunzehnten  Jahrhundert,  Vol.  I.  258. 
Gonse,  Louis,  Vol.  I.  332. 

Grangedor,  J.,  Vol.  II.  78. 

Graphic,  The,  Vol.  I.  350  ; Vol.  IL  14, 


4 


INDEX  TO  AUTHORITIES  QUOTED. 


Great  American  Sculptors,  Vol.  I.  151,  I7l  ; Vol.  II.  67,  135,  162,  217,  256. 
Ouellette,  Charles,  Vol.  II.  51. 

Hamerton,  P.  G.,  Vol.  I.  70,  72,  91,  150,  189,  198,  200,  213,  252,  274, 
291,  309,  329,  366,  375,  379 ; Vol.  II.  5,  6,  8,  31,  51,  80,  107,  116,  148, 
183,  195,  196,  200,  238,  302,  306,  307,  340. 

Hamerton’s  Contemporary  French  Painters,  Vol.  II.  368. 

Hamerton’s  Etching  and  Etchers,  Vol.  I.  155,  172,  176,  256,  364  ; Vol.  II. 
17,  32,  161,  203,  284. 

Hamerton’s  Thoughts  about  Art,  Vol.  II.  347. 

Hand-Book  of  Ancient  and  Modern  Sculpture,  A'ol.  II.  345. 

Hannay,  James,  Vol.  II.  286. 

Hare’s  Walks  in  London, , Vol.  II.  37. 

Harper’s  Magazine,  Vol.  I.  55,  263,  272. 

Hawthorne,  ISTathaniel,  Vol.  II.  190,  277,  290. 

Herve,  Alfred,  Vol.  1.  1. 

Hodder,  George,  Vol.  I.  216,  266  ; Vol.  II.  285. 

Home  Journal,  Hew  York,  Vol.  I.  19  ; Vol.  II.  209. 

Hooper,  Lucy,  Vol.  1.  16,  94 ; Vol.  11.  364. 

Houssaye,  Henry,  Vol.  1.  47,  132,  202,  276  ; Vol.  11.  184. 

Hlustrirte  Zeitung,  Vol.  1.  46. 

IreniEus,  Vol.  1.  168,  307,  333. 

Italian  Letter  to  New  York  Times,  Vol.  1.  333. 

Jameson,  Mrs.,  Vol.  1.  316. 

Jarves’  Art  Idea,  Vol.  1.  30,  44,  62,  63,  87,  103,  137,  146,  181,  183,  238, 

294,  340,  341,  366,  374,  383  ; Vol.  II.  22,  30,  64,  143,  160,  162,  190, 

213,  219,  220,  277,  290,  294,  314,  334,  349. 

Jarves’  Art  Thoughts,  Vol.  I.  41,  74,  84,  151,  161,  164,  167,  196,  198,  200, 

205,  215,  250,  257,  275,  306;  Vol.  11.  33,  90,  122,  131,  136,  159,  320, 

347. 

Jordan,  Dr.  Max,  Vol.  1.  207,  284,  293 ; Vol.  11.  193.  ' 

Journal  des  Debats,  Vol.  1.  58. 

Journal  Officiel,  Vol.  I.  53. 

Kingsley,  Eev.  Charles,  Vol.  1.  105. 

Lafenestre,  Georges,  Vol.  1.  136. 

Lagenevais,  M.  F.  de,  Vol.  1.  226. 

Lagrange,  Leon,  Vol.  II.  320. 

Larousse,  Vol.  I.  379  ; Vol.  11.  46,  221,  244,  302,  369. 

L’Art,  Vol.  1.  41,  81,  104,  140,  189,  219,  237,  346  ; Vol.  11.  100,  107,295. 
L’Art  Fran9ais,  Vol.  I.  120. 

L’Art  Romantique,  Vol.  11.  16. 

Lemonnier,  Camille,  Vol.  I.  385. 

Les  Artistes  de  mon  Temps,  Vol.  1.  229. 

Les  Trois  Musees  de  Londres,  Vol.  II.  301. 

Letter  to  New  York  Observer,  Vol.  1.  307. 


INDEX  TO  AUTHORITIES  QUOTED. 


5 


Lewes,  Mr.,  Vol.  II.  182. 

Life  of  Dickens,  Vol.  I.  105,  125,  147,  176  ; Vol.  II.  49,  83. 

Linton,  W.  J.,  Vol.  II.  35. 

Literary  World,  Vol.  II.  172. 

Liverpool  Mercury,  Vol.  1.  85. 

Lockhart’s  Life  of  Scott,  Vol.  I.  311. 

London  Art  Journal,  Vol.  1.  137,  158,  193,  255,  266,  367  ; Vol.  II.  20,  23, 
27,  54,  80,  155,  166,  185. 

London  Athenaeum,  Vol.  I.  12,  24,  88,  173,  350  ; Vol.  II.  62,  66,  127, 
172,  185. 

London  Builder,  Vol.  I.  174. 

London  Daily  News,  Vol.  I.  56,  280  ; Vol.  11.  13,  43,  44,  297. 

London  Examiner,  Vol.  I.  167;  Vol.  II.  44. 

London  Globe,  Vol.  II.  333. 

London  Graphic,  Vol.  II.  138. 

London  Illustrated  N ews,  Vol.  I.  172;  Vol.  II.  149,  289,  321. 

London  Letter  to  New  York  Evening  Post,  Vol.  I.  367. 

London  Letter  to  New  York  Times,  Vol.  I.  253,  298. 

London  Mayfair,  Vol.  I.  99. 

London  Morning  Advertiser,  Vol.  I.  135. 

London  Morning  Post,  Vol.  II.  157. 

London  Observer,  Vol.  II.  126. 

London  Saturday  Review,  Vol.  I.  62. 

London  Spectator,  Vol.  II.  21. 

London  Standard,  Vol.  I.  12,  377  ; Vol.  II.  149,  297,  333. 

London  Telegraph,  Vol.  II.  347. 

London  Times,  Vol.  I.  88,  109,  172,  173,  343,  350 ; Vol.  II.  49,  105,  120, 
298,  299,  347. 

London  World,  Vol.  I.  107. 

Macaulay’s  Life  and  Letters,  Vol.  II.  37. 

Macready's  Diary  and  Reminiscences,  Vol.  II.  83. 

Magazine  of  Art,  Vol.  I.  109,  350  ; Vol.  II.  45,  74,  126,  127,  176,  224. 
Malassis,  M.,  Vol.  II.  50. 

Mantz,  Paul,  Vol.  I.  97,  112,  139,  302  ; Vol.  11.  147,  172,  203,  273. 
Marble  Faun,  The,  Vol.  II.  290. 

Martineau,  Harriet,  Vol.  I.  233  ; Vol.  II.  143. 

Memoirs  of  the  Countess  of  Blessington,  Vol.  I.  311,  339  ; Vol.  11.  37,  83, 
308. 

Menard,  Rene,  Vol.  I.  41,  76,  81,  82,  90,  140,  162,  189,  225,  267,  276,  342  ; 

Vol.  II.  18,  108,  215,  226,  299,  371. 

Meyer,  Bruno,  Vol.  I.  287. 

Michel,  Emile,  Vol.  II.  111. 

Millet,  J.  B.,  Vol.  IT.  326. 

Milwaukie  Evening  Wisconsin,  Vol.  II.  251. 

Modern  Painters,  Tytler,  Vol.  I.  77,  176,  245,  305,  337,  341,  356,  373,  375, 
378  ; Vol.  II.  34,  37,  49,  66,  83,  98,  116,  140,  179,  216,  294,  314,  334, 
337,  347,  367. 

Moniteur  Universel,  Vol.  II.  245.  • 


6 


INDEX  TO  AUTHORITIES  QUOTED. 


Montaiglon,  Anatole  de,  Vol.  II.  125. 

Montegut,  Emile,  Vol.  I.  75. 

Montrosier,  Eugene,  Vol.  I.  226. 

Moscow  Gazette,  Vol.  II.  283. 

Munich  News,  Vol.  II.  282. 

Mtintz,  Eugene,  Vol.  I.  69,  252  ; Vol.  II.  88,  212. 

New  York  Arcadian,  Vol.  I.  249  ; Vol.  II.  45. 

New  York  Citizen,  Vol.  II.  71. 

New  York  Evening  Express,  Vol.  II.  165,  209. 

New  York  Evening  Mail,  Vol.  I.  247  ; Vol.  II.  123. 

New  York  Evening  Post,  Vol.  I.  56,  98,  123,  227,  313,  322,  336,  377,  383  ; 

Vol.  II.  75,  96,  132,  162,  198,  261,  270,  343. 

New  York  Graphic,  Vol.  I.  350  ; Vol.  II.  14. 

New  York  Herald,  Vol.  II.  14,  259. 

New  Yoik  Independent,  Vol.  II.  287. 

New  York  Leader,  Vol.  II.  249. 

New  York  Morning  Journal,  Vol.  II.  291. 

New  York  Nation,  Vol.  I.  232;  Vol.  II.  236. 

New  York  Observer,  Vol.  I.  168. 

New  York  Round  Table,  Vol.  II.  122. 

New  York  Sun,  Vol.  II.  303. 

New  York  Telegram,  Vol.  II.  151. 

New  York  Times,  Vol.  I.  12,  79,  94,  233,  296,  328,  335,  336,  383  ; Vol.  II. 
13,  105,  117,  206,  210. 

New  York  Tribune,  Vol.  I.  133,  170,  207,  248  ; Vol.  II.  76,  121,  129,  249, 
253,  291. 

New  York  Turf,  Field,  and  Farm,  Yol.  II.  291. 

New  York  World,  Vol.  II.  30. 

North  American  Review,  Vol.  I.  55. 

North  British  Review,  Vol.  II.  229. 

Notes  on  Art  in  Horae  Subsecivae,  A'^ol.  II.  230. 

Obermayer,  Eugen,  Vol.  II.  88. 

Old  and  New,  Vol.  I.  131. 

Old  New  York,  Vol.  I.  15. 

Ottley,  Henry,  Vol.  1.  3. 

Palgrave’s  Essays  on  Art,  Vol.  I.  19,  23,  48,  49,  83,  115,  153,  175,  186, 
209,  231,  239,  245,  279,  293,  339,  347,  372,  373,  375  ; Vol.  II.  46,  54, 
66,  78,  94,  96,  98,  138,  142,  152,  155,  166,  179,  187,  194,  233,  247,  295, 
333,  334,  337,  344,  347,  366. 

Pall  Mall  Budget,  Vol.  I.  170. 

Pall  Mall  Gazette,  Vol.  II.  72,  74. 

Paris  Correspondent  of  Appletons’  Journal,  303. 

Paris  Figaro,  Vol.  I.  94. 

Pecht,  Fr.,  Vol.  II.  257. 

Philadelphia  Evening  Bulletin,  Yol.  I.  40,  270  ; Yol.  II.  128. 

Pliiladelphia  Evening  Telegraph,  «Vol.  II.  353,  359. 


INDEX  TO  AUTHORITIES  QUOTED. 


7 


Philadelphia  Journal,  Vol.  I.  328. 

Pietsch,  Ludwig,  Vol.  I.  46. 

Portfolio,  The,  Vol.  I.  70,  76,  81,  82,  92,  136,  162,  180,  252,  253,  265,  327, 
342  ; Vol.  II.  5,  31,  51,  88,  89,  306,  307. 

Portland  Transcript,  Vol.  I.  102. 

Proth,  Mario,  Vol.  I.  47,  180,  197,  332  ; Vol.  II.  42,  134,  170,  220. 
Publica  Opinione,  Naples,  Vol.  I.  243. 

Redgrave’s  Century  of  Painters,  Vol.  I.  373. 

Revolution,  The,  Vol.  I.  260,  270;  Vol.  II.  66. 

Revue  des  Deux  Mondes,  Vol.  I.  47,  75,  92,  130,  132,  201,  203,  226,  276, 
319  ; Vol.  II.  34,  65,  93,  99,  111,  147,  184. 

Richmond  Enquirer,  Vol.  II.  290. 

Robinson,  Henry  Crabbe,  Diary  of,  Vol.  II.  305. 

Rosetti,  W.  M.,  Vol.  I.  105,  372  ; Vol.  II.  44,  49,  265,  347,  368. 

Ruskin,  John,  Vol.  II.  61,  65,  139,  148,  305,  346. 

Ruskin’s  Modern  Painters,  Vol.  1.  126,  167,  172,  176,  275,  375  ; Vol.  II. 
37,  70,  161,  196,  197,  216,  284,  305. 

RuskiiTs  Notes  of  the  Academy,  Vol.  I.  10,  12,  22,  71,  110,  145,  147,  153, 
177,  308,  326,  364,  376  ; Vol.  II.  70,  74,  94,  157,  178,  187,  192,  224, 
293,  300,  338. 

Ruskin’s  Notes  on  the  Pictures  of  the  Year,  Vol.  II.  62. 

Sainte-Beuve,  M.,  Vol.  I.  371. 

San  Francisco  Morning  Call,  Vol.  II.  127. 

Sargent,  J.  T.,  Vol.  II.  175. 

Saturday  Review,  Vol.  II.  37,  74. 

Scott,  William  B.,  Gems  of  Modern  Belgian  Art,  Vol.  II.  316. 

Scribner’s  Monthly  Magazine,  Vol.  I.  55. 

Semper,  Dr.  Hans,  Vol.  II.  2. 

Silvestre,  Theojjhile,  Vol.  I.  195  ; Vol.  II.  120. 

Smiles’  Self-Help,  Vol.  II.  305. 

Springer,  Anton,  Vol.  I.  258. 

Springfield  Republican,  Vol.  I.  271,  330  ; Vol.  II.  253. 

Staats  Zeitung,  New  York,  Vol.  II.  185. 

Stedman’s  Victorian  Poets,  Vol.  11.  224. 

St.  Louis  Globe,  Vol.  II.  106. 

St.  Louis  Journal,  Vol.  I.  321. 

Sunday  Bulletin,  Baltimore,  Vol.  I.  38,  72  ; Vol.  II.  8. 

Swiss  Times,  Vol.  II.  306. 

Taine’s  Notes  on  England,  Vol.  11.  230. 

Taylor,  Bayard,  Vol.  L 207  ; Vol.  11.  121. 

Taylor,  Tom,  Vol.  1.  116,  126,  266,  360  ; Vol.  11.  62,  138,  276,  365,  366. 
Thackeray,  Vol.  1.  176  ; Vol.  II.  49,  306. 

Thackeray,  The  Humorist,  Vol.  11.  286. 

Thaekerayana,  Introduction  to,  Vol.  11.  286. 

Timbal,  Ch.,  Vol.  1.  197,  213,  289,  291  ; Vol.  11.  Ill,  170,  298. 

Times,  New  York,  Vol.  1.  12,  79,  94,  233,  296,  328,  335,  336,  383  ; Vol. 
11.  13,  105,  117,  206,  210. 


8 


INDEX  TO  AUTHORITIES  QUOTED. 


Treasury  of  Art  in  Great  Britain,  Vol.  II.  305. 

Trollope,  T.  Adolphus,  Vol.  II.  297. 

Tuckerman’s  Book  of  the  Artists,  Vol.  I.  11,  29,  31,  44,  52,  62,  64,  67,  79, 
87,  93,  121,  123,  125,  135,  137,  144,  148,  151,  169,  171,  184,  215,  236, 
238,  255,  260,  270,  286,  296,  313,  322,  327,  334,  337,  339,  340,  341,  346, 

354,  362,  370,  378,  383 ; Vol.  II.  12,  22,  38,  47,  61,  100,  115,  135,  143, 

160,  162,  190,  210,  212,  213,  219,  225,  227,  251,  263,  268,  279,  334,  342, 

343,  348,  350,  360. 

Tupper,  J.  L.,  Vol.  II.  288,  361. 

Tuthill,  Mrs.,  Introduction  to  Beauties  of  Euskin,  VoL  II.  230. 
Twice-Told  Tales,  Vol.  II.  289. 

Tytler,  Mrs.,  Vol.  I.  77,  176,  245,  305,  337,  341,  356,  373,  375,  378  ; VoL 

11.  34,  37,  49,  66,  83,  98,  116,  140,  179,  216,  294,  314,  334,  337,  347, 
367. 

Unsere  Zeit,  Vol.  II.  295. 

Vapereau,  Vol.  I.  73  ; Vol.  II.  8,  20,  85,  89,  281. 

Vernet,  Horace,  Vol.  I.  291. 

Viardot,  Louis,  Vol.  II.  239. 

Victor  Hugo,  Vol.  I.  35,  82. 

Voyage  au  Pays  des  Peintres,  Vol.  I.  47,  180,  197,  332  ; Vol.  II.  42,  134, 
170,  220. 

Waagen,  Dr.,  Treasury  of  Art  in  Great  Britain,  Vol.  11.  305. 

"Wallis,  H.,  Vol.  II.  120. 

Washington  Evening  Star,  Vol.  II.  106. 

Weir,  Prof.,  OlRcial  Eeport  of  the  American  Centennial  Exhibition,  Vol.  I. 

12,  17,  56,  62,  64,  94,  98,  101,  116,  138,  139,  148,  174,  192,  203,  227, 
245,  253,  260,  275,  276,  286,  295,  296,  300,  303,  313,  322,  335,  347,  357, 
361,  363,  370,  375,  377  ; Vol.  II.  12,  30,  54,  100,  105,  111,  117,  142,  164, 
174,  195,  207,  210,  222,  247,  252,  256,  278,  292,  301,  314,  328,  350. 

Westminster  Eeview,  Vol.  I.  176. 

Wolff,  M.  Albert,  Vol.  I.  94. 

Wornum’s  Epochs  of  Painting,  Vol.  I.  74,  181,  242  ; Vol.  II.  61,  274,  305. 
Yriarte,  Charles,  Vol.  II.  99,  197. 

Zeitschrift  fiir  bildende  Kunst,  Vol.  I.  46,  49,  70,  191,  217,  251,  287,  355  ; 

Vol.  II.  6,  69,  88,  110,  137,  145,  193,  212,  246,  313. 

Zola,  Emile,  Vol.  II.  89. 


INDEX  OF  PLACES. 


Aix. 

Council  Chamber,  Vol.  11.  206. 
Albany. 

State  Capitol,  Vol.  I.  374. 

State  Library,  Vol.  I.  238,  340, 
377. 

Alen^on. 

Museum,  Vol.  II.  42,  50. 
Amiens. 

Museum,  Vol.  I.  35,  73  ; Vol.  II. 
59. 

Palace  of  Justice,  Vol.  II.  233. 
Andover. 

Phillips  Academy,  Vol.  II.  275. 
Angers. 

Hospice  of  St.  Marie,  Vol.  I.  184. 
Museum,  Vol.  I.  184. 

Annapolis. 

Picture  at,  Vol.  II.  348. 
Antwerp. 

Church  of  St.  George,  Vol.  I.  318. 
City  of,  Vol.  11.  311. 

Hotel  de  Ville,  Vol.  II.  67. 
Museum,  Vol.  1.  89. 

Arezzo. 

Cathedral,  Vol.  1.  57. 

Arras. 

Cathedral,  Vol.  I.  187. 

Assisi. 

Church  of  St.  Agnes,  Vol.  II.  158. 
Avignon. 

City  of,  Vol.  II.  317. 

Museum,  Vol.  I.  20  ; Vol.  II.  317. 
Gallery  Vernet  at,  Vol.  11.  318. 


Avranches. 

Gallery,  Vol.  II.  50. 

Baltimore. 

Peabody  Institute,  Vol.  II.  102, 
201,  213. 

Basle. 

Museum,  Vol.  I.  68  ; Vol.  II.  133. 

Berlin. 

Belle-Alliance  Platze,  Vol.  II.  133. 

Campo  Santo,  Vol.  I.  157. 

Castle  Bridge,  Vol.  I.  66. 

Cathedral,  Vol.  II.  296. 

Chateau,  Vol.  I.  217. 

Hotel  de  Ville,  Vol.  I.  353  ; Vol. 
II.  246. 

Menagerie,  Vol.  I.  217. 

National  Gallery,  Vol.  1.  3,  4,  6, 
13,  46,  47,  48,  49,  53,  54,  60, 
65,  66,  67,  71,  89,  90,  98,  114, 
115,  125,  157,  172,  178,  191, 
206,  207,  217,  224,  234,  239, 
243,  252,  254,  270,  278,  283, 
284,  287,  288,  289,  292,  293, 
294,  308,  309,  315,  316,  320, 
336,  343,  345,  351,  352,  353, 
354,  360,  364,  370,  372,  376, 
384;  Vol. II.  3,  4,  9,  17,  18,  19, 
23,  24,  26,  27,  28,  29,  40,  63, 
68,  76,  85,  87,  89,  102,  110, 
112,  113,  114,  124,  133,  143, 
158,  163,  165,  176,  186,  193, 
206,  211,  212,  231,  240,  241, 
242,  243,  244,  246,  248,  255, 
263,  265,  270,  271,  279,  301, 
313,  314,  326,  328,  329,  339, 
342,  355,  356,  358,  359,  372. 


10 


INDEX  OF  PLACES. 


New  German  Parliament  House, 
Vol.  II.  247. 

New  Museum,  Vol.  I.  308  ; Vol. 

II.  20,  163,  242,  243. 

New  Theater,  Vol.  II.  296. 

Opera  House,  Vol.  I.  353. 
Querlialle  of  the  National  Gal- 
lery, Vol.  I.  243. 

Eathhaus,  Vol.  II.  279. 

Eoyal  Bridge,  Vol.  II.  246. 

Eoyal  Museum,  Vol.  I.  279. 

Salle  des  £tats,  Vol.  II.  296. 
University  Library,  Vol.  II.  25. 
Beziers. 

Museum,  Vol.  II.  42. 

Bombay. 

Statue  of  the  Prince  of  Wales, 
Vol.  I.  71. 

Bonn. 

Statue  at,  Vol.  I.  324. 
Bordeaux. 

City  of,  Vol.  II.  302. 

Museum,  Vol.  I.  62,  143,  228, 
343  ; Vol.  II.  240,  284. 

Palace  of  Justice,  Vol.  II.  10. 
Theater,  Vol.  I.  80. 

Boston. 

Art  Club,  Vol.  I.  55,  102,  230, 
254. 

Athemeum,  Vol.  I.  10,  102,  144, 
170,  204,  306,  371,  382  ; Vol. 
II.  1,  20,  144,  159. 

Central  Club,  Vol.  I.  292. 

City  Hall  Square,  Vol.  I.  314. 
Faneuil  Hall,  Vol.  I.  341. 

Herald  Building,  A"ol.  I.  306. 
Great  Organ,  Vol.  I.  63. 
Horticultmal  Hall,  Vol.  II.  122. 
Marine  Insurance  Company,  Vol. 
II.  39. 

Museum,  Vol.  II.  279. 

Museum  of  Fine  Arts,  Vol.  I.  21, 
159,  164,  166,  170,  230,  240  ; 
Vol.  II.  119,  125,  245. 


Music  HaU,  Vol.  I.  63,  170. 
Public  Garden,  Vol.  II.  277,  334. 
Public  Library,  Vol.  1.  16,  21, 
30  ; Vol.  11.  122,  191,  367. 
Shoe  and  Leather  Association, 
VoL  I.  248,  249. 

Soldiers’  Monument,  Vol.  11.  122. 
Somerset  Club,  Vol.  1.  146  ; Vol. 
11.  262. 

Trinity  Church,  Vol.  II.  30,  40. 
Union  Club,  Vol.  1.  146. 

Boulogne. 

Museum,  Vol.  11.  47. 

Sculptures,  Vol.  1.  197. 

Brecon. 

Statue  of  Wellington,  Vol.  11. 
288. 

Bremen. 

E.xchange,  Vol.  11.  8. 

Brescia. 

Museum,  Vol.  1.  250. 

Brookly'N. 

Mercantile  Librarjq  Vol.  11.  351. 
Prospect  Park,  Vol.  11.  81. 

Bruges. 

Gallery,  Vol.  1.  208. 

Brussels. 

Church  of  St.  Jacques,  Vol.  11. 
188. 

Hospital  of  St.  John,  Vol.  I.  288. 
Hotel  de  Ville,  Vol.  1.  267  ; Vol. 
11.  338. 

^luseum,  Vol.  1.  328  ; Vol.  II. 
67,  99,  143,  257,  273,  310, 
315. 

Eoyal  Theater,  Vol.  II.  188. 
Senate  Chamber,  Vol.  1.  280. 
Wilson  GaUerj’,  Vol.  1.  205. 

Buff.alo. 

Academy  of  Fine  Arts,  Vol.  I.  7, 
61  ; Vol.  11.  173. 

Natural  Science  Eooms,  Vol.  11. 
249. 


INDEX  OF  PLACES. 


11 


Caen. 

Cathedral,  VoL  I.  22. 

Museum,  Vol.  I.  241  ; Vol.  11.  9. 
Calcutta. 

Statues  at,  Vol.  I.  71  ; Vol.  II. 
341. 

Cambrai. 

Museum,  Vol.  I.  196. 
Cambridge,  England. 

Caius  College,  Vol.  II.  336. 
Fitzwilliam  Museum,  Vol.  I.  36. 
King’s  College,  Vol.  I.  24. 
Museum,  Vol  II.  191. 

Pembroke  College,  Vol.  II.  336. 
St.  Mary’s  Church,  Vol.  I.  23. 
Cambridge,  U.  S.  A. 

Harvard  Library,  Vol.  I.  306. 
Carcassone. 

Museum,  Vol.  I.  206. 

Cardiff. 

Statue  at,  Vol.  II.  288. 
Carlisle. 

Cathedral,  Vol.  I.  4. 

Statue  of  James  Steele,  Vol.  II. 
360 

Carlsruhe. 

Gallery,  Vol.  II.  63. 

Museum,  Vol.  I.  278. 

Cassel, 

Gallery,  Vol.  I.  234. 

Castellani. 

Church  of,  Vol.  II.  131. 

Celle. 

Monument  at,  Vol.  I.  336. 
Certaldo. 

Picture  of  Boccaccio,  Vol.  I.  57. 
Christiana.  . 

Gallery,  Vol.  I.  234. 
Christiansborg. 

Gallery,  Vol.  1.  57. 

Colmar. 

Monument  to  Schongauer,  Vol.  I. 
36. 


Cologne. 

Cathedral,  Vol.  I.  6 ; Vol.  II. 
271. 

Museum,  Vol.  I.  53  ; Vol.  II. 
244,  271,  313. 

Statue  of  Frederick  William  III., 
Vol.  I.  66. 

Concord. 

Battle-Ground,  Vol.  I.  271. 
Library,  Vol.  1.  306. 

Constance. 

Government  Buildings,  Vol.  II. 
329. 

Copenhagen. 

Gallery,  Vol.  1.  320. 

Royal  Castle,  Vol.  11.  10. 
CORKHAM. 

Church  at,  Vol.  I.  24. 

Corte. 

Cathedral,  Vol.  I.  33. 

COURTRAI. 

Museum,  Vol.  11.  22. 

Crefeld. 

Hotel  de  Ville,  Vol.  II.  8. 
Dalecarlia. 

National  Monument  of  Mora,  Vol. 

I.  359. 

Detmold. 

Monument  at,  Vol.  1.  32. 

Dijon. 

Church  of  St.  Peter,  Vol.  1.  201. 
Museum,  Vol.  1.  1,  113,  206,  301; 
Vol.  11.  50,  147. 

Douai. 

Museum,  Vol.  I.  134,  158. 
Dresden. 

Bruhl  Terrace,  Vol.  11.  241. 
Court  Theater,  Vol.  1.  360. 
Gallery,  Vol.  II.  198,  357. 
Hospital  of  St.  Maternite,  Vol. 

II.  250. 

Museum,  Vol.  11.  249,  326. 


12 


INDEX  OF  PLACES. 


New  Theater,  Vol.  1.  234. 

Royal  Castle,  Vol.  I.  54. 

Statue  at,  Vol.  1.  324. 

Dublin. 

Art  Union,  Vol.  I.  82. 

National  Galleiy,  Vol.  I.  266. 

Dunkeld. 

Cathedral,  Vol.  II.  269. 
Dusseldorf. 

Art  Union,  Vol.  II.  63. 

Gallery,  Vol.  II.  136,  295. 
Maximilian  Church,  Vol.  II.  250. 

Eagleswood. 

Art  Pottery,  Vol.  II.  266. 
Edinburgh. 

Cathedral  of  St.  Mary’s,  Vol.  II. 
247. 

National  Gallery,  Vol.  I.  9,  98, 
136,  218,  224,  355,  378  ; Vol. 
II.  41,  166,  171,  271. 

Eoval  Scottish  Academy,  Vol.  I. 

210. 

Elberfeld. 

Council  Chamber,  Vol.  II.  135. 
Erfurt. 

Hotel  de  Ville,  Vol.  II.  9. 

Eton. 

Statue  at,  Vol.  II.  341. 

Eaenza. 

Picture  at,  Vol.  II.  123. 

Feurs. 

Church  of,  Vol.  I.  74. 

Florence. 

Cathedral,  Vol.  II.  163. 

Church  of  San  Lorenzo,  Vol.  I. 
56,  247. 

Gallery  of  Jlodern  Paintings,  Vol. 

I.  124  ; Vol.  II.  140,  186,  808. 
Iconographic  Galleiy,  Vol.  1.  60. 
Loggia  dei  Lanzi,  Vol.  1.  250. 
Medici  Chapel,  Vol.  1.  56. 


Museum  of  San  Marco,  Vol.  1.  39. 
Palace  of  Mme.  Favart,  Vol.  1. 
283. 

Palazzo  Vecchio,  Vol.  11.  168. 
Piazza  Santa  Croce,  Vol.  II.  168. 
Pitti  Gallery,  Vol.  1.  37,  60,  223, 
226. 

Pitti  Palace,  Vol.  1.  56. 

San  Donato  Gallery,  Vol.  1.  279. 
Santa  Croce,  Church  of,  Vol.  1. 

226,  247  ; Vol.  11.  234,  312. 
Villa  Oppenheim,  Vol.  11.  181, 
250. 

FONTAINEBLE.AU. 

Palace  of,  Vol.  1.  134  ; Vol.  11. 
50. 

Foth. 

Church  of,  Vol.  1.  64. 
Frankfort. 

Imperial  Hall,  A’’ol.  11.  271. 
Museum,  Vol.  11.  67,  177. 
Staedel  Institute,  Vol.  11.  158, 
237. 

Geneva. 

Museum,  A^ol.  1.  206. 

Town  Council  of,  A^ol.  11.  314. 
Genoa. 

Hospitals,  A^ol.  11.  214,  312. 
Ger.a. 

Soldiers’  Monument,  A'ol.  II. 
*246. 

Ghent. 

Museum,  Vol.  I.  82,  320  ; Vol. 
11.  67. 

Glasgow. 

Art  Union,  A^ol.  11.  364. 
Cathedral,  A'ol.  1.  352  ; A*ol.  II. 
269. 

Statue  of  the  Queen,  Vol.  11.  94. 
University,  A’^ol.  11.  247. 

Gleiwitz. 

Monument  at,  A'ol.  1.  336. 


INDEX  OF  PLACES. 


13 


Gotha. 

Museum,  Vol.  I.  292. 
Grafenegg. 

Castle,  Vol.  11.  184. 

Geexoble. 

Gallery,  Vol.  I.  341. 

Museum,  Vol.  1.  134. 
Grieeswald. 

University,  Vol.  I.  5. 

Geopello. 

Statue  at,  A'’ol.  II.  97. 
Geoss-Gmehlen. 

Church  at,  Vol.  II.  342. 

Haarlem. 

Museum,  Vol.  II.  113,  144. 
Hague,  The. 

Museum,  Vol.  I.  82;  Vol.  II.  143. 
Hal. 

Monument  at,  Vol.  I.  303. 
Hamburg. 

Church  of  St.  Nicolas,  Vol.  II. 
250. 

Museum,  Vol.  I.  287  ; Vol.  II. 
253. 

Hanthem. 

Church  at,  Vol.  I.  288. 
Harrisburg. 

Capitol  at,  Vol.  II.  225. 
Hartford. 

Bushnell  Park,  Vol.  I.  37. 

Clark  Family  Monument,  Vol.  I. 
37. 

Colonel  Colt,  Monument  to,  Vol. 
II.  218. 

New  Capitol,  Vol.  I.  386  ; Vol. 
II.  219. 

Wadsworth  Gallery,  Vol. 1. 36, 144. 
Haverhill. 

Public  Library,  Vol.  II.  191. 
Havre. 

Museum,  Vol.  II.  42,  132. 


Hixgham. 

Monument  at,  Vol.  I.  306. 
Konigsberg. 

Museum,  Vol.  I.  89,  172  ; Vol. 
II.  244. 

Town  Gallery,  Vol.  I.  172. 
University,  Vol.  I.  308  ; Vol.  II. 
241. 

Konigsbrunn. 

Church  at,  Vol.  II.  329. 
Kreuzberg. 

Monument  at,  Vol.  II.  296. 
Langres. 

Museum,  Vol.  I.  76,  158. 

Laon. 

Church  of  Notre  Dame,  Vol.  I. 
71. 

Lausanxe. 

Museum,  Vol.  I.  206,  302. 
Leghorn. 

Church  of  the  Soccorso,  Vol.  1. 

199  ; Vol.  11.  186. 

Statue  at,  Vol.  11.  192. 

Leipsic. 

Museum,  Vol.  1.  5,  50,  54,  60, 
106,  114,  191,  239,  283,  284, 
289,  318,  324,  351,  352  ; Vol. 
11.  7,  26,  69,  76,  186,  193,  194, 
206,  222,  240,  243,  244,  246, 
248,  263,  267,  284,  304,  326, 
328,  339,  358. 

Eoman  House  at,  Vol.  II.  358. 
Lemberg. 

Hotel  des  Invalides,  V ol.  1.  303. 
Lexixgtox. 

Town  Hall,  Vol.  1.  306. 
Lichfield. 

Cathedral,  Vol.  11.  260. 
Lichtexstein. 

Church,  Vol.  11.  342. 
Lichterfelde. 

Cadet  House,  Vol.  11.  178. 


14 


INDEX  OF  PLACES. 


LifeGE. 

Museum,  Yol.  I.  279. 

Lille. 

Museum  or  Gallery,  Vol.  I.  40, 
62,  75,  226,  359  ; Vol.  II.  47, 
53,  147,  240. 

Limeeick. 

Roman  Catholic  Cathedral,  Vol.  I. 
331. 

Lisbon. 

Royal  Palace,  Vol.  1.  217. 
Liverpool. 

GaUery,  Vol.  II.  250. 

Lime  Street  Station  Hotel,  Vol. 
11.  336. 

Royal  Exchange,  Vol.  II.  361. 

St.  George’s  HaU,  Vol.  I.  4 ; Vol. 
II.  287. 

London. 

Albert  Hall,  Vol.  1.  23. 

Albert  Memorial,  Vol.  I.  24,  50, 
259  ; Vol.  II.  287,  341. 

Art  Union,  VoL  II.  165. 
Battersea  Park,  Vol.  II.  171. 
Buckingham  Palace,  Vol.  I.  231, 
316  ; Vol.  II.  171. 

Charing  Cross  Hotel,  Vol.  1.  36. 
City  Club,  Vol.  1.  331. 

Co  vent  Garden  Theater,  Vol.  I.  36. 
Crystal  Palace,  Vol.  II.  94,  361. 
Dudley  Gallery,  Vol.  I.  169,  246, 
247  ; Vol.  II.  17,  321. 

Euston  Square  Railway  Terminus, 
Vol.  1.  331. 

Exchange,  Vol.  II.  76. 

Fine  Art  Society,  Vol.  II.  292. 
Foreign  Office,  Vol.  I.  50. 

Garrick  Club,  Vol.  1.  140. 
Goldsmith’s  Hall,  Vol.  I.  330. 
Greenwich  Hospital,  Vol.  I.  49  ; 

Vol.  11.  82,  287. 

Grosvenor  Gallery,  Vol.  1.  169, 
326;  Vol.  II.  17,  125,  147, 
269,  337. 


Guildhall,  Vol.  I.  50,  229  ; VoL 
II.  359. 

House  of  Commons,  Vol.  II.  333. 
House  of  Lords,  Vol.  I.  365  ; Vol. 
II.  287. 

Houses  of  Parliament,  Vol.  I.  23, 
50,  154,  230,  232,  257,  365; 
Vol.  II.  82,  83,  95,  139,  337. 
India  House,  Vol.  II.  341. 
International  Exhibition  Build- 
ings, Vol.  1.  266. 

Lincoln’s  Inn,  Vol.  1.  331  ; Vol. 
II.  337. 

Lloyd’s,  Vol.  II.  76. 

Mansion  House,  Vol.  I.  228,  229, 
271. 

Marine  Gallery,  Vol.  I.  55. 
Middle  Temple,  Vol.  I.  228. 
National  Gallery,  Vol.  I.  36,  83, 
141,  152,  154,  231,  233,  236, 
241,  269,  274,  303,  324,  351, 
365  ; Vol.  II.  14,  15,  32,  33, 
35,  36,  48,  61,  69,  71,  83,  137, 
155,  180,  202,  216,  268,  304, 
308,  333,  340,  352,  353,  358. 
Royal  Acaderiiy,  Vol.  I.  139,  194, 
209,  234  ; Vol.  11.  54. 

South  Kensington  Museum,  Vol.  I. 

266;  Vol.  II.  36,  207,  288,  336. 
St.  James’  HaU,  Piccadilly,  Vol. 
II.  15. 

St.  Katherine’s  Docks,  Vol.  1.330. 
St.  Paul’s  Cathedral,  Vol.  I.  49  ; 

Vol.  II.  95,  272,  287,  360. 
Temple  Church,  Vol.  II.  260. 
Temple  Hall,  Vol.  I.  24. 
Universitj',  Vol.  I.  229  ; Vol.  II. 

• 171. 

Victoria  Park,  Vol.  II.  171. 
Westminster  Abbey,  Vol.  I.  4, 
23,  49  ; Vol.  II.  95,  287,  361. 
Westminster  Hall,  Vol.  I.  365  ; 
Vol.  II.  285. 

Westminster  Palace,  Vol.  II  285, 
337. 


INDEX  OF  PLACES. 


15 


Louvain. 

Museum,  Vol.  II.  99. 
Louisville. 

Statue  at,  Vol.  1.  333. 

Lynn. 

Soldiers’  Monument,  Vol.  I.  2. 
Lyons. 

Museum,  Vol.  I.  60,  74. 

Madrid. 

Museum,  Vol.  I.  124. 
Magdebourg. 

Church  of  St.  Jacques,  Vol.  II. 
270. 

Francke  Monument,  Vol.  1.  66. 

Manchester. 

Assize  Courts,  Vol.  II.  336. 
Owens  College,  Vol.  II.  336. 
Salford  Gaol,  Vol.  11.  336. 

Statue  of  Sir  Eobert  Peel,  Vol. 
II.  95. 

Marienburg. 

Castle,  Vol.  II.  25. 

Statue  of  Duke  Albert,  Vol.  I. 

66. 

Marienwerder. 

Cathedral,  Vol.  11.  186, 
Marseilles. 

Cathedral,  Vol.  1.  221. 

Museum,  Vol.  I.  158,  196,  328, 
330  ; Vol.  11.  179,  196,  264. 
Meissen. 

Church,  Vol.  I.  370. 

Eoyal  Castle,  Vol.  1.  234. 

Metz. 

Museum,  Vol.  1.  158. 

Rabbinical  School,  Vol.  1.  71. 

Milan. 

Piazza  San  Sepolcro,  Vol.  I.  162. 
Theater  of  La  Scala,  Vol.  11.  278. 
Mons. 

Museum,  Vol.  1.  82. 


Montauban. 

Cathedral,  Vol.  I.  381. 

Museum,  Vol.  I.  301. 
Montpelier. 

Statue  at,  Vol.  11.  106. 

Montpellier. 

Museum,  Vol.  1.  58. 

Promenade,  Vol.  I.  25. 

Montreal. 

Victoria  Square,  Vol.  11.  359. 
Moscow. 

Peter-Paul  Church,  Vol.  11.  329. 

Mulhouse. 

Museum,  Vol.  1.  301. 

Munich. 

Basilica  of  St.  Boniface,  Vol.  1. 
352. 

Church  of  Maria  Hilf,  Vol.  I.  352. 
Church  of  St.  Ludwig,  Vol.  1. 
157. 

Glyptothek,  Vol.  I.  157,  206 ; 
Vol.  II.  76. 

Kbnigsbau,  Vol.  I.  207. 
Maximilineum,  Vol.  1.  319  ; Vol. 
11.  182. 

Museum,  Vol.  11.  29,  193,  242, 
244. 

New  Residence,  Vol.  1.  260. 
Niebelungen,  Grand  Hall  of,  Vol. 

11.  7. 

Niederwald,  National  Monument 
at,  Vol.  11.  241. 

Pinakothek,  Vol.  I.  2,  157,  278, 
337;  Vol.  11.  53,  182,  207. 
Munster. 

Cathedral,  Vol.  I.  3. 

Church  of  St.  Algidius,  Vol.  11. 
271. 

Nantes. 

Museum,  Vol.  1.  40,  90,  184. 
Naples. 

Chapel  Royal,  Vol.  11.  132. 


16 


INDEX  OF  PLACES. 


Church  of  St.  Severe,  Vol.  1. 126, 
127. 

Conservatorio,  Vol.  I.  22. 
Nakbonne. 

Museum,  Vol.  I.  97. 

Nevees. 

Grand  Place  of,  Vol.  11.  59. 
Museum,  Vol.  I.  330. 
Neuchatel. 

Museum,  Vol.  I.  299. 

Neuss. 

Old  Church,  Vol.  I.  157. 
Nevers. 

Museum  of,  Vol.  1.  330. 

17  e'wcastle-on-Ttne. 

Statue  at,  Vol.  II.  76. 

New  Orleans. 

Statue  at,  Vol.  I.  332. 

Newport. 

Statue  at,  Vol.  II.  334. 

New  York. 

Apollo  Association,  Vol.  II.  348. 
Arcadian  Club,  Vol.  I.  369. 

Art  Union  Gallery,  Vol.  II.  21,  46. 
Astor  Library,  Vol.  II.  135. 

Bar  Association,  Vol.  I.  330  ; 
Vol.  II.  125. 

Belmont  Gallery,  Vol.  I.  61,  78, 
192,  296  ; Vol.  II.  111. 
Booth’s  Theater,  Vol.  I.  306. 
Central  Park,  Vol.  I.  30,  170, 
251  ; Vol.  II.  2,  81,  291,  334. 
Century  Club,  Vol.  I.  64  ; Vol. 

II.  21,  47,  96,  349. 

City  Hall,  Vol.  I.  238,  354,  377, 
382  ; Vol.  II.  99,  125,  159, 
189,  279,  349. 

Greenwood  Cemetery,  Vol.  I. 

100  ; Vol.  II.  242. 

Historical  Society,  Vol.  I.  26, 
144,  377  ; Vol.  II.  1,  134,  159, 
168,  289,  330. 

Law  Library,  Vol.  11.  81. 


Lenox  Library,  Vol.  1.  376  ; Vol. 
11.  189. 

Lotus  Club,  Vol.  II.  278. 
Metropolitan  Museum,  Vol.  1. 

151,  170  ; VoL  11.  312,  349. 
National  Academy,  Vol.  1.  56, 
78,  137,  149,  180,  183,  233, 
238,  266,  286,  309,  321,  327  ; 
Vol.  11.  10,  45,  46,  96,  134, 
145,  153,  343. 

Old  Diisseldorf  Gallery,  Vol.  1. 

337  ; Vol.  11.  193. 

Palette  Club,  Vol.  II.  309. 

St.  Luke’s  Hospital,  Vol.  I.  55, 
377. 

Trinity  Church,  Vol.  1.  365,  371; 
Vol.  11.  230. 

University,  Vol.  I.  377  ; Vol.  11. 
289. 

Union  League  Club,  Vol.  1.  377  ; 
Vol.  11.  101,  247,  275,  335. 
Nimes. 

Vol.  I.  60. 

Niort. 

Vol.  1.  76. 

N0KNE>r\^'EP.T. 

Church  of,  Vol.  11.  176. 
Nuremberg. 

Madonna  of,  Vol.  I.  5. 
Ntmptsch. 

Church  of,  Vol.  1.  49. 

Orleans. 

Museum,  Vol.  I.  20. 

Statue  at,  V ol.  I.  220. 

Orvieto. 

Cathedral,  Vol.  I.  33. 

Osborne. 

Vol.  1.  17,  137,  231  ; Vol.  11.  169. 

OSNABRUCK. 

Cathedral,  Vol.  1.  217. 

Oxford. 

Baliol  College,  Vol.  11.  336. 
Bodleian  Library,  Vol.  11.  176. 


INDEX  OF  PLACES. 


17 


Mart)’rs’  Monument,  Vol.  II.  341. 
New  Museum,  Vol.  II.  139. 
Trinity  College,  Vol.  II.  341. 

Paris. 

Arc  de  Triomphe,  Vol.  I.  77,  240  ; 
Vol.  II.  94. 

Avenue  de  I’Observatoire,  Vol. 
II.  172. 

Bank  of  France,  Vol.  II.  289. 
Barriere  du  TrOne,  Vol.  II.  154. 
Bourse,  the,  Vol.  I.  228. 
Calcographie  (the  Louvre),  Vol. 

I.  114,  268  ; Vol.  II.  282. 
Cemetery  du  Nord,  Vol.  I.  303. 
Chamber  of  the  Council  of  State, 
Vol.  I.  222. 

Chamber  of  Deputies,  Vol.  I. 
201,  223. 

Chamber  of  Notaries,  Vol.  1. 163. 
Chamber  of  Peers,  Vol.  I.  182. 
Champs  Elysees,  Vol.  I.  201,  228. 
Chapel  of  All  Saints,  Vol.  I.  352. 
Chapel  des  Baptemes  in  I’Eglise 
de  la  Trinite,  Vol.  I.  268. 
Chapel  of  the  Madeleine,  Vol.  I. 
143. 

Chapel  of  St.  Fran9ois  de  Sales, 
Vol.  I.  353. 

Chapel  of  St.  Genevieve,  Vol.  I. 
203. 

Chapel  of  St.  Joseph  at  St.  Sul- 
pice,  Vol.  II.  34. 

Chapel  of  St.  Sulpice,  Vol.  II.  298. 
Chatelet,  Theater  of,  Vol.  I.  134. 
Church  of  Blancs-Manteaux,  Vol. 
I.  301. 

Church  of  the  Madeleine,  Vol.  I. 
77,  163,  228,  241  ; Vol.  II.  57, 
87,  94,  253,  301. 

Church  of  Notre  Dame  des 
Champs,  Vol.  II.  42. 

Church  of  Notre  Dame  de  Clig- 
nan court,  Vol.  I.  222. 

Church  of  Notre  Dame  de  Lorette, 
Vol.  I.  203,  228. 


Church  of  Notre  Dame  de  Paris, 
Vol.  I.  343. 

Chui-ch  of  the  Sarbonne,  Vol.  II. 
243,  298. 

Church  of  St.  Ambrose,  Vol.  II.  73. 
Church  of  St.  Augustin,  Vol.  I. 

31,74,  316;  Vol.  11.18,51,  59. 
Church  of  St.  Bernard,  Vol.  I. 
184. 

Church  of  St.  Clothilde,  Vol.  I. 

80,  319  ; Vol.  II.  51,  52. 
Church  of  St.  Denis-du-Saint- 
Sacrement,  Vol.  I.  188,  243  ; 
Vol.  II.  172.  ^ 

Church  of  St.  Etienne-du-Mont, 
Vol.  I.  220,  258,  292 ; Vol.  II. 
39. 

Church  of  St.  Eustache,  Vol.  I. 
31,  166,  196. 

Church  of  St.  Genevifeve,  VoL  1. 

271  ; Vol.  II.  196. 

Church  of  St.  Germ.ain-l’Auxer- 
rois,  Vol.  I.  31,  163,  297  ; Vol. 
IT.  18,  57. 

Church  of  St.  Germain-des-Pres, 
Vol.  I.  31,  158,  257. 

Church  of  St.  Gervais,  Vol.  I. 

297,  343  ; Vol.  II.  10. 

Church  of  St.  Jean,  Vol.  II.  57. 
Church  of  St.  Joseph,  Vol.  I.  197. 
Church  of  St.  Louis,  Vol.  11.  52. 
Church  of  St.  Louis  d’Antin, 
Vol.  1.  222,  301. 

Church  of  St.  Louis-en-lTle,  Vol. 
II.  52. 

Church  of  St.  Marguerite,  Vol.  1. 
258,  302. 

Church  of  St.  Martin  des  Champs, 
Vol.  1.  290. 

Church  of  St.  Merri,  Vol.  1.  187, 
297  ; Vol.  11.  52,  57. 

Church  of  St.  Nicolas  des  Champs, 
Vol.  1.  143  ; Vol.  11.  114. 
Church  of  St.  Nicolas  du  Char- 
donnet,  Vol.  I.  201. 


18 


INDEX  OF  PLACES. 


Church  of  St.  Pierro  du  Gros 
Caillou,  Vol.  I.  201. 

Church  of  St.  Protais,  Vol.  1.297. 

Church  of  St.  Severin,  Vol.  I. 
31,  257,  258,  290;  Vol.  II.  210, 
211. 

Church  of  St.  Sulpice,  Vol.  1.  217, 
353  ; Vol.  II.  51,  58. 

Church  of  St.  Thomas  Aquinas, 
Vol.  I.  58,  317. 

Church  of  St.  Vincent  de  Paul, 
Vol.  I.  257  ; Vol.  II.  181. 

Church  of  the  Trinity,  Vol.  I.  31, 
97,  251  ; Vol.  II.  41,  47,  65, 
73. 

Coliuun  of  the  Place  Veridome, 
Vol.  I.  37,  223. 

Column  of  July,  Vol.  1.  221. 

Court  of  Cassation,  Vol.  I.  221. 

Ecole  des  Beaux-Arts,  Vol.  I.  223, 

_ 381. 

Elysee,  the,  Vol.  I.  129,  206  ; 
Vol.  II.  34. 

Exposition,  1878,  Vol.  I.  1,  22, 
23,  24,  25,  28,  33,  39,  42, 
52,  56,  64,  68,  71,  77,  78,  84, 
88,  93,  94,  98,  108,  111,  116, 
117,  124,  127,  137,  142,  148, 
149,  153,  154,  155,  169,  172, 
174,  179,  185,  186,  189,  192, 
197,  209,  219,  222,  233,  234, 
239,  242,  246,  247,  253,  254, 
255,  266,  267,  274,  277,  279, 
280,  287,  288,  290,  294,  298, 
305,  306,  309,  310,  317,  319, 
320,  321,  322,  323,  324,  338, 
345,  347,  348,  350,  358,  362, 
369,  377,  378,  379,  383,  384, 
385  ; Vol.  II.  7,  12,  13,  14, 16, 
17,  18,  19,  22,  25,  29,  31,  47, 
58,  61,  63,  68,  69,  72,  73,  77, 
79,  84,  85,  87,  89,  92,  93,  100, 
104,  105,  110,  113,  114,  116, 
117,  124,  125,  126,  131,  133, 
138,  141,  142,  148,  150,  165, 


166,  170,  171,  175,  179,  182, 
186,  191,  194,  198,  207,  209, 
212,  214,  221,  222,  232,  234, 
235,  237,  242,  243,  248,  253, 
256,  257,  264,  265,  268,  270, 
271,  272,  275,  276,  278,  279, 
282,  284,  285,  291,  292,  299, 
300,  304,  308,  313,  315,  321, 
328,  333,  334,  335,  336,  337, 
350,  352,  354,  355,  360,  363, 
365,  366,  367,  370. 

Fountain  of  Saint  ilichel,  Vol.  I. 
186  ; Vol.  II.  5. 

Fountain  of  the  Theatre-Fran- 
gais,  Vol.  I.  284. 

Fountain  of  Victory,  Vol.  II.  5. 

Grande  Chancellerie  of  the  Le- 
gion of  Honor,  Vol.  I.  237  ; 
Vol.  II.  312. 

Home  Department  of  the  Council 
of  State,  Vol.  I.  257. 

Hotel  Drouot,  Vol.  II.  118. 

Hotel  des  Invalides,  Vol.  I.  4, 
381  ; Vol.  II.  255. 

Hotel  Pereire,  Vol.  I.  80  ; Vol. 
II.  226. 

Hotel  de  Ville,  Vol.  I.  201,  206, 
243,  258,  381  ; Vol.  II.  34, 
254. 

Louvre  Museum,  Vol.  1.  1,  4,  27, 
31,  38,  39,  70,  77,  163,  182, 
184,  187,  201,  203,  206,  218, 
220,  223,  230,  243,  385  ; Vol. 
11.  86,  114,  254. 

Louvre,  Palace  of,  Vol.  1.  113, 
143,  218,  228,  319,  376,  381  ; 
Vol.  II.  50,  59,  120,  181,  255. 

Luxemhourg  Gallery,  Vol.  1.  2, 
3,  8,  12,  15,  20,  35,  38,  40,  45, 
50,  51,  53,  55,  57,  58,  59,  60, 
62,  65,  66,  70,  72,  74,  79,  90, 
91,  92,  112,  113,  126,  129,  134, 
135,  136,  1-38,  156,  158,  163, 
166,  170,  177,  179,  184,  187, 
188,  193,  196,  198,  200,  201, 


INDEX  OF  PLACES. 


19 


203,  212,  218,  219,  220,  223, 
226,  230,  237,  241,  247,  252, 
258,  261,  267,  271,  275,  289, 
290,  292,  297,  300,  301,  302, 
306,  316,  318,  319,  328,  329, 
332,  342,  343,  345,  353,  359, 
372,  384,  385  ; Vol.  II.  4,  7, 
8,  9,  18,  24,  33,  34,  39,  40,  42, 
45,  47,  49,  50,  52,  53,  57,  58, 
59,  60,  64,  65,  73,  86,  87,  91, 
99,  106,  111,  118,  120,  124, 

130,  134,  136,  142,  154,  157, 
163,  167,  170,  172,  178,  185, 
186,  201,  203,  204,  211,  212, 
215,  221,  226,  228,  230,  245, 
246,  248,  253,  255,  280,  288, 
298,  301,  302,  307,  321,  327, 
339,  361,  370. 

Luxembourg  Garden,  Vol.  I.  74, 
140  ; Vol.  ir.  86. 

Luxembourg  Library,  Vol.  II. 
254. 

Luxembourg  Observatory,  Vol.  I. 
119. 

Maison  d’Or,  Vol.  11.  46. 

New  Opera,  Vol.  1.  40,  82,  197, 
281,  284,  317  ; Vol.  II.  121, 
172,  243. 

Palais  des  Beaux- Arts,  Vol.  1. 
197,  301. 

Palais  des  Cham brcs,  Vol.  I.  288. 
Palais  des  Corps  Legislatifs,  Vol. 

I.  385. 

Palais  de  Justice,  Vol.  I.  22,  75, 

131,  221,  223,  228  ; Vol.  II. 
39,  52,  112,  172. 

Palais  Royal,  Vol.  I.  228  ; Vol. 

II.  317. 

Palais  Trocadero,  Vol.  1.  197. 
Pantheon,  Vol.  I.  359  ; Vol.  II. 
42,  87,  196. 

Pavilion  de  Rohan,  Vol.  I.  206. 
Pavilion  Turgot,  Vol.  I.  206,  319. 
Pere-la-Chaise,  Vol.  1.  223. 

Place  de  Rivoli,  Vol.  I.  271. 


Salle  des  Seances  of  the  Institute, 
Vol.  I.  223. 

Salon  of  Constantine,  Vol.  II. 
318. 

Tuileries,  Vol.  I.  114,  129,  184, 
187,  196,  197,  376;  Vol.  11. 
45,  50,  73,  86. 

Pauma. 

Gallery,  Vol.  II.  97. 

Pau. 

Museum,  Vol.  I.  134. 

Pesth. 

Museum,  Vol.  II.  329. 

Philadelphia. 

Academy  of  Fine  Arts,  Vol.  I.  10; 
Vol.  II.  61,  135,  144,  168,  277, 
279,  339. 

Actors’  Home,  near  Philadelphia, 
Vol.  I.  30. 

County  Jail,  Vol.  II.  331. 

Exposition,  Vol.  I.  2,  5,  17,  22, 
24,  28,  29,  30,  32,  36,  39, 
43,  47,  51,  52,  55,  56,  64,  66, 
68,  71,  76,  77,  78,  82,  83,  93, 
94,  95,  98,  100,  101,  102,  107, 
115,  116,  117,  118,  123,  124, 
125,  133,  138,  141,  146,  148, 
149,  151,  152,  156,  158,  167, 
168,  172,  174,  177,  180,  183, 
18.5,  192,  193,  210,  219,  225, 
226,  227,  231,  232,  238,  240, 
246,  247,  249,  253,  255,  256, 
260,  261,  267,  270,  274,  276, 
278,  280,  283,  287,  289,  290, 
292,  296,  300,  303,  304,  30.5, 
308,  309,  312,  314,  317,  321, 
323,  324,  328,  330,  332,  335, 
337,  341,  348,  353,  356,  362, 
370,  372,  373,  377,  378,  385, 
386  ; Vol.  II.  4,  7,  9,  11,  12, 
13,  14,  16,  17,  18,  21,  22,  26, 
27,  29,  30,  31,  34,  38,  44,  56, 
61,  66,  68,  69,  72,  74,  75,  80, 
86,  87,  91,  93,  96,  100,  102, 


20 


INDEX  OF  PLACES. 


103, 

105, 

110, 

111, 

112, 

114, 

116, 

121, 

124, 

126, 

127, 

128, 

129, 

130, 

132, 

134, 

139, 

140, 

144, 

147, 

148, 

149, 

150, 

151, 

152, 

154, 

159, 

162, 

163, 

164, 

167, 

169, 

171, 

173, 

175, 

178, 

185, 

191, 

192, 

194, 

195, 

202, 

207, 

209, 

211, 

217, 

218, 

219, 

222, 

223, 

225, 

230, 

234, 

236, 

237, 

239, 

240, 

247, 

251, 

252, 

253, 

256, 

257, 

259, 

260, 

261, 

263, 

264, 

265, 

268, 

269, 

275, 

277, 

278, 

279, 

281, 

282, 

284, 

288, 

292, 

297, 

299, 

300, 

301, 

303, 

304, 

305, 

306, 

307, 

309, 

310, 

312, 

313, 

315, 

320, 

321, 

325, 

327, 

328, 

329, 

332, 

334, 

335, 

336, 

341, 

342, 

343, 

345, 

353, 

355, 

363, 

372. 

Fairmount  Park, 

Vol. 

1.  29. 

Girard  College,  Vol.  II.  331. 
Independence  Hall,  Vol.  I.  29  ; 

Vol.  II.  144,  279. 

Permanent  Fine  Art  E.'diibition, 
Vol.  I.  88. 

Union  League  Club,  Vol.  II.  1, 
144. 

Pledighotta. 

Vol.  II.  8,  9. 

Pisa. 

Monument,  Vol.  II.  312. 

Pietro  Leopoldo  at,  Vol.  II.  163. 
University,  Vol.  I.  199. 

PiSTOIA. 

Hospital,  Vol.  II.  307. 
Plymouth. 

Pilgrims’  Monument,  Vol.  I.  63. 
Poitiers. 

Hotel  de  Ville,  Vol  II.  196. 

Porte-Maurizio. 

Cathedral,  Vol.  I.  143. 

Portland. 

Exchange,  Vol.  I.  6. 


Prague. 

Univereity  at,  Vol.  II.  324. 
Ratisbox. 

Cathedral,  VoL  I.  6 ; Voh  II. 
244. 

Eemagen. 

Churches  at,  Vol.  I.  191,  385  ; 
Vol.  II.  136. 

Rheims. 

Cathedral,  Vol.  II.  87. 
Monument  at,  Vol.  I.  319. 

Richmond,  England. 

Star  and  Garter,  Vol.  I.  36. 
Rome. 

Academy  of  St.  Luke,  Vol.  I.  5. 
Art  Union,  Vol.  1.  102. 

Borghese  Palace,  Vol.  1.  60. 
Campo  Verano,  Vol.  11.  123. 

Casa  Bartholdi,  Vol.  1.  157. 
Church  of  La  Trinita  de’  ilonti, 
Vol.  1.  381. 

Church  of  St.  Louis  des  Fran9ais, 
Vol.  1.  223. 

Church  of  St.  Peter’s,  Vol.  II. 
281. 

Doria  Palace,  Vol.  11.  123. 
Quirinal,  Vol.  I.  22  ; Vol.  11.  123. 
Salon  of  the  French  School,  Vol. 
1.  223. 

Torlonia  Palace,  Vol.  1.  117. 
Vatican,  the,  Vol.  II.  122. 
Rouen. 

Church  of  Hotre  Dame  de  Bon 
Secoure,  Vol.  11.  45. 

Museum,  Vol.  1.  129  ; Voh  11. 
132,  254. 

Salem. 

Normal  School,  Vol.  11.  367. 

Salisbury’,  U.  S.  A. 

Colling  Memorial  Vase,  Vol.  I. 
37. 


INDEX  OF  PLACES. 


21 


Savannah. 

Convent  of  tlie  Sacred  Heart,  Vol. 

I.  212. 

Savona. 

Basilica  of,  Vol.  I.  143. 

Hospital  of,  Vol.  I.  33. 
Sebastopoi,. 

Monument  at,  Vol.  I.  303. 

Sens. 

Catliedral,  Vol.  II.  87. 

Siena. 

Campo  Santo,  Vol.  II.  235. 
Catliedral,  Vol.  I.  33  ; Vol.  II. 
140,  235. 

Church  of  the  Servites,  Vol.  I. 
57. 

Fonte  Gaia,  Vol.  II.  235. 

Palazzo  Publico,  Vol.  I.  124. 
Silesia. 

Church  at,  Vol.  II.  198. 
SOLESMES. 

Church  at,  Vol.  I.  196. 

Spoleto. 

Cathedral,  Vol.  II.  89. 
Stagheno. 

Cemetery  of,  Vol.  II.  214. 
Staglieno. 

Monuments  at,  Vol.  II.  312. 

St.  Louis,  Mo. 

Custom  House,  Vol.  I.  271. 
Forest  Park,  Vol.  II.  81. 

Public  Library,  Vol.  1.  366. 

St.  Malo. 

Statue  at,  Vol.  II.  121. 
Stockholm. 

Museum,  Vol.  1.  57,  359  ; Vol. 

II.  197. 

St.  Omer. 

Museum,  Vol.  1.  223.* 

St.  PetePlSeurg. 

Heimitage,  Vol.  1.  26,  27  ; Vol. 
11.  145. 

St.  Isaac’s  Church,  Vol.  II.  241. 


Winter  Palace,  Vol.  1.  27  ; Vol. 
11.  283. 

St.  Quentin. 

Churches  at,  Vol.  11.  41. 
Strasbourg. 

Cathedral,  Vol.  11.  271. 

Museum,  Vol.  I.  237. 

Stuttgart. 

Gallery,  Vol.  I.  251. 

SWANTON. 

Statue  at,  Vol.  11.  174. 

Tenby. 

Statue  of  Prince  Consort  at,  Vol. 
11.  288. 

Tergernsee. 

Castle  of,  Vol.  11.  225. 
Toulouse. 

Hotel  of,  Vol.  II.  289. 

Museum,  Vol.  1.  384  ; Vol.  11. 
42. 

Tournay. 

Cathedral,  Vol.  I.  279. 

Tours. 

Museum,  Vol.  11.  47. 

Trieste. 

Church  of  Saint-Antoine,  Vol.  I. 
315. 

Troyes. 

Monastery  of  Visitation  at,  Vol. 

11.  10. 

Museum,  Vol.  II.  10,  254,  255. 
Turin. 

Monument  to  Cavour,  Vol.  I.  225. 
Eoyal  Chapel,  Vol.  1.  267. 

Royal  Gallery,  Vol.  I.  273. 

Ro3-al  Palace,  Vol.  1.  22,  27,  338  ; 
Vol.  II.  312. 

Twickenham. 

Orleans  House,  Vol.  I.  381. 

Valence. 

Museum,  Vol.  11.  47. 


22 


INDEX  OF  PLACES. 


Vendome. 

Museum,  Yol.  I.  134. 

Vejsdreuve. 

Chateau  of,  Yol.  II.  254. 

Y EESAILLES. 

Gallery,  Yol.  I.  3,  16,  22,  31,  45, 
60,  51,  65,  138,  143,  163,  182, 
187,  203,  223,  228,  241,  250, 
279,  281,  297,  299,  318,  343, 
384,,  385  ; Yol.  II.  4,  33,  39, 
101,  114,  178,  181,  186,  215, 
221,  253,  254,  276,  318,  332. 
Yienna. 

Arsenal  at,  Yol.  I.  303  ; Yol.  II. 

. 184. 

Belvedere  Gallery,  Yol.  I.  65  ; 
Yol.  II.  87. 

Belvedere  Palace,  Yol.  I.  267. 
Cathedral  of,  Yol.  I.  64. 

Exposition,  1873,  Yol.  I.  22,  33, 
39,  234,  317,  348,  376  ; Yol. 

II.  2,  19,  58,  125,  165,  177, 
207,  328,  336. 

Museum,  Yol.  I.  64,  117,  315, 
379  ; Yol.  II.  124. 

■VYarsaw. 

Cathedral,  Yol.  I.  303. 

^YASHINGTON■. 

Capitol  at,  Yol.  I.  100,  131,  171, 
249,  314,  341,  376  ; Yol.  II. 
64,  106,  122,  128,  189,  202, 
218,  255,  331,  334,  339,  342. 
Congressional  Library,  Yol.  II. 
331. 

Corcoran  Gallery,  Yol.  I.  17,  28, 
38,  78,  89,  92,  112,  119,  135,  | 
137,  150,  200,  202,  238,  249,  | 


272,  290,  330,  355  ; Yol.  II. 
9,  18,  47,  59,  60,  136, 168,  188, 
189,  194,  231,  238,  245,  314, 
339,  371. 

National  Museum  of  Education, 
Yol.  II.  267. 

Old  House  of  Representatives, 
Yol.  II.  190. 

Patent  Office,  Yol.  II.  331. 
Post-Office,  Yol.  11.  331. 

Soldiers’  Home,  Yol.  II.  367. 
Treasury  Building,  Yol.  II.  331. 
IVar  Department,  Yol.  II.  191. 

IYaterloo. 

Church  at,  Yol.  1.  288. 

AYatertown. 

Keep  Monument  at,  Yol.  II.  327. 
Y''eimar. 

Castle,  A’'ol.  II.  296,  358. 
AVieland  Hall  at,  A’ol.  II.  193. 

AVellbergex  in  AA^estphalia. 
Church  at,  A’ol.  II.  176. 

AA’est  Point. 

Military  Academy,  Yol.  II.  279, 
348. 

AA’^  INDSOR. 

Castle  at,  A’ol.  I.  17,  71,  98  ; Yol. 
II.  184,  247,  287. 

AVurtzberg. 

Kunstverein,  Yol.  I.  288. 

York. 

Minster,  Yol.  II.  260. 

Ypres. 

Halls  at,  Yol.  I.  316  ; A'ol.  II. 


GENERAL  INDEX 


Abbott,  J.  G.,  Vol.  I.  123. 

Adams,  Abram,  Vol.  II.  264. 
Adams,  Alvin,  Vol.  II.  113. 

Adams,  ilrs.  Alvin,  Vol.  I.  102  ; 
Vol.  II.  10. 

Adams,  Mr.,  Vol.  II.  32. 

Adams,  Fletcher,  Vol.  II.  297. 
Adams,  McGregor,  Vol.  II.  103. 
Agnew,  Messrs.,  Vol.  II.  17. 
Aignette,  M.,  Vol.  II.  365. 

Aiken,  A.,  Vol.  II.  208. 

Akers,  Paul,  Vol.  I.  102. 

Albert  sale,  Vol.  I.  189. 

Alden,  A.  C.,  Vol.  II.  342. 

Alford,  Lady  Marian,  Vol.  II.  95. 
Amberly,  Lord,  Vol.  11.  297. 
American  Art  Union,  Vol.  I.  83. 
Ames,  Mrs.  Charles,  Vol.  II.  218. 
Ames,  Mrs.  Oakes,  Vol.  1 1.  139. 
Ames,  Mrs.  Oliver,  Vol.  II.  139. 
Ames,  Oliver,  Vol.  11.  10. 

Amherst  College,  Vol.  11.  164,  349. 
Andre,  M.,  Vol.  1.  263. 

Andre,  Mme.  Ernest,  Vol.  1.  204. 
Andrew,  Mrs.  John  A.,  Vol.  1.  306. 
Andrews,  W.  L.,  Vol.  II.  267. 
Angell,  Dr.  H.  C.,  Vol.  1.  230; 
Vol.  11.  218. 

Anthony,  S.  J.,  Vol.  1.  231. 
Appleton,  Samuel,  Vol.  1.  366. 
Appleton,  T.  G.,  collection  of,  Vol. 
1.  56,  94,  102,  103,  190,  254, 
286,  324  ; Vol.  II.  100,  122,  157, 
341. 


Appleton,  W.  S.,  Vol.  11.  255. 
Archer  and  Pancoast,  Vol.  II.  335. 
Armadale,  Vol.  11.  289. 

Arnim,  Baron  Von,  Vol.  11.  270. 
Arrowsmith,  Dr.,  "V^ol.  11.  1. 
Arthaber  sale,  Vienna,  Vol.  I.  284. 
Artists’  Fund  Society,  New  York, 
Vol.  1.  56,  66. 

Ashburton,  Lady,  Vol.  1.  140,  146  ; 
Vol.  II.  297. 

Ashmun,  Hon.  George,  Vol.  1.  330. 
Astor,  John  Jacob,  Vol.  1.  294, 
384  ; Vol.  11.  261,  315. 

Astor,  William,  Vol.  1.  347. 
Attwood,  Mrs.,  Vol.  II.  214. 

Aube,  Vol.  1.  86. 

Austin,  G.  W.,  Vol.  1.  43. 

Austria,  Emperor  of,  Vol.  II.  29. 
Avery,  S.  P.,  Vol.  1.  46,  80,  108. 
Avery  sale,  Vol.  I.  370. 

Baccelli,  Prof.,  Vol.  II.  123. 

Bacon,  Henry  C.,  Vol.  II.  250. 
Bailey,  N.  T.,  Vol.  II.  44,  248. 
Baird,  Matthew,  Vol.  I.  307  ; Vol. 
11.  129,  225. 

Balmoral  Castle,  statue  at,  Vol.  II. 
287. 

Baker,  C.,  Vol.  11.  175. 

Baker,  W.  S.  G.,  Vol.  II.  214,  258. 
Baldwin,  Mr.,  Vol.  1.  66. 

Baliol  College,  Oxford,  Vol.  11.  336. 
Ball,  Elias,  Vol.  11.  348. 

Bank  of  France,  Paris,  Vol.  11.  289. 


24 


GENERAL  INDEX. 


Barbee,  W.  R.,  Vol.  I.  33. 

Baring,  Mr.  M.  P.,  Vol.  II.  199. 
Barlow,  H.  N.,  Vol.  I.  102. 

Barnes,  Demas,  Vol.  I.  306. 

Bartol,  Miss,  Vol.  II.  153. 
Bartolony,  M.,  Vol.  I.  80. 

Barye,  anecdote  of,  Vol.  I.  38. 
Batchelder,  S.,  Vol.  1.  330. 

Bates,  Martin,  Vol.  II.  250. 

Baudry,  Paul,  Vol.  1.  282. 

Baxter,  Charles,  Vol.  II.  163.- 
Beckwith,  Dr.  D.  H.,  Vol.  II.  345. 
Beecher,  Rev.  H.  W.,  Vol.  I.  102, 
382  ; Vol.  II.  1. 

Bell,  Jacob,  Vol.  11.  155. 

Bellini,  sole  portrait  of,  Vol.  I.  22. 
Bellini,  tomb  of,  Vol.  II.  94. 
Belmont  Gallery,  Vol.  I.  61,  78, 
192,  296  ; Vol.  II.  111. 

Belmont  sale,  Vol.  I.  73. 

Benedict,  Judge,  Vol.  I.  370. 
Benevieni,  Jerome,  famous  bust  of, 
Vol.  I.  39. 

Bennett,  J.  G.,  Vol.  I.  94,  210. 
Bennett,  James  Gordon,  Jr.,  Vol.  I. 
192. 

Bennett,  "William,  Vol.  I.  356. 
Bergholz,  Mrs.,  Vol.  II.  103. 

Berry,  Duke  of,  Vol.  II.  316. 

Best,  W.  J.,  Vol.  II.  254. 

Bigelow,  Horatio,  Vol.  I.  149. 

Bird,  Mrs.  Edward  0.,  Vol.  I.  143, 
192. 

Blacas,  M.  de,  Vol.  II.  317. 
Blackie,  Dr.,  Vol.  II.  331. 

Blair,  D.  C.,  Vol.  I.  369. 

Bliss,  George,  Vol.  II.  290. 
Blodgett,  D.  C.,  Vol.  II.  214. 
Blodgett  sale.  New  York,  Vol.  1. 

3,  73,  96,  137  ; Vol.  II.  209. 
Blodgett,  W.  T.,  Vol.  1.  183,  266, 
325  ; Vol.  II.  247. 

Bloodgood,  John,  Vol.  II.  144. 
Blossom,  Charles,  Vol.  II.  281. 
Blossom,  James  B.,  Vol.  II.  281. 


Bolton,  Colonel,  Vol.  I.  172. 
Bonheur,  Raymond,  Vol.  I.  72. 
Bonheur,  Rosa,  school  founded  by, 
Vol.  I.  72,  74. 

Bonnat,  Vol.  II.  56. 

Bonnel,  M.,  Vol.  II.  29. 

Booth,  Edwin,  Vol.  I.  173,  294, 
345. 

Booth,  Miss  Mary  L.,  Vol.  II.  174. 
Borghese,  Prince  P.,  Vol.  I.  240. 
Bosio,  Baron,  Vol.  I.  77. 

Boston  Central  Club,  V ol.  I.  292. 
Boston  Shoe  and  Leather  Associa- 
tion, Vol.  I.  248,  249. 

Boston  Somerset  Club,  Vol.  I.  146  ; 
Vol.  II.  262. 

Boston  Union  Club,  Vol.  I.  146. 
Boucicaut,  M.,  Vol.  I.  80. 
Bouilly-Mensdorf,  Count  of,  Vol. 
II.  244. 

Bowdoin  College  Chapel,  Vol.  II. 
40. 

Bowl  ing,  Sir  John,  Vol.  I.  238. 
Brackett,  G.  C.,  Vol.  II.  286. 
Brackett,  S.  L.,  Vol.  II.  220. 
Bradford,  W.  H.,  Vol.  I.  369. 
Bradley,  J.  H.,  Vol.  I.  88. 

Brady,  J.  R.,  Vol.  II.  248. 

Brassey,  Thomas  51.  P.,  Vol.  1. 152. 
Breadalbane,  Duke  of,  Vol.  II.  117. 
Brewer,  Gardner,  Vol.  II.  281. 
Breysse,  51.,  Vol.  I.  158. 

Brimmer,  5Iartin,  A'ol.  I.  103  ; 

Vol.  II.  119,  297,  313. 

Bristol,  Lord,  5'ol.  I.  117. 
Brookfield,  IVilliam,  Vol.  II.  292. 
Brooks,  Noah,  Vol.  I.  296. 

Brooks,  Peter  S.,  A^ol.  1.  146. 
Brown,  J.  G.,  Vol.  1.  192. 

Brown,  Walter,  Vol.  1.  295. 

Brown,  W.  E.  (Cal.),  Vol.  1.  56. 
Bro\\’ning,  5Irs.  E.  B.,  5'ol.  II.  190. 
Browning,  5Ir.,  London,  Vol.  1. 
367. 

Brownlow,  Earl,  Vol.  11.  95. 


GENERAL  INDEX. 


25 


Brunswick,  Duke  of,  monument  to, 
Vol.  II.  314. 

Brussels  sale,  Vol.  II.  273,  323. 
Bryant,  William  C.,  Vol.  II.  289. 
Buchanan,  Eev.  E.  S.,  Vol  I.  100. 
Buckingham,  Duke  of,  Vol.  II.  264. 
Bull,  Ole,  Vol.  II.  341, 

Bullard,  Mrs.  J.,  Vol.  II.  11. 
Bullard,  Mrs.  Laura  Curtis,  Vol.  II. 
66,  287,  313. 

Bunco,  Miss,  Vol.  II.  174. 

Bunce,  Oliver  B.,  Vol.  1.  369. 
Burdett-Coutts,  Baroness,  Vol.  I.  2, 
87,  98,  345  ; Vol.  II.  133. 
Burdick,  Dr.,  Vol.  I.  64. 

Burt,  J.  M.,  Vol.  II.  288. 

Bute,  Marquis  of,  V^ol.  II.  66. 
Butler,  Cyrus,  Vol.  I.  97  ; Vol.  II. 
104,  163,  254. 

Butler,  Richard,  Vol.  I.  Ill,  294, 
325. 

Butler,  Theron  R.,  collection  of, 
Vol.  I.  20,  42,  80,  96,  143,  240, 
290,  328,  338,  354,  370  ; Vol.  II. 
11,  25,  26,  113,  149,  160,  185, 
194,  217,  328. 

Butterfield,  William,  Vol.  II.  251. 

Caird,  James,  Vol.  II.  281. 

Caius  College,  Cambridge,  Vol.  II. 
336. 

Caldwell,  W.  A.,  Vol.  II.  128. 
Camp,  W.  A.,  Vol.  I.  128. 

Careno,  Mme.  Teresa,  Vol.  II.  139. 
Carey,  Alice,  Vol.  I.  64. 

Carey,  H.  C.,  Vol.  II.  168. 

Casilear,  J.  W.,  Vol.  II.  248. 
Cassin,  Mme.  de,  Vol.  I.  264. 
Castellani,  Count,  Vol.  II.  240. 
Castle  of  Prince  Albert  of  Prussia, 
Vol.  II.  242. 

Centurj'  Club,  New  York,  Vol.  I. 

64  ; Vol.  II.  21,  47,  96,  349. 
Cercle  Artistique,  Vol.  II.  145,  196. 
Champfleury,  M.,  Vol.  II.  50. 


Champier,  Victor,  Vol.  I.  237. 
Chandler,  John  W.,  Vol.  II.  348. 
Chandos,  Marquis  of,  Vol.  II.  264. 
Chantrey  Bequest,  Vol.  II.  54. 
Chaplet,  M.,  Vol.  I.  85. 

Charles  X.,  Vol.  II.  317. 

Charles  X.,  Museum  of,  Vol.  II. 
318. 

Chailes  Albert,  Vol.  I.  273. 

Charles  Theodore,  Duke  of  Bavaria, 
Vol.  II.  225. 

Chasrel,  T.,  Vol.  I.  104. 

Chateau  of  Blois,  Vol.  II.  7. 
Chateau  of  Compiegne,  Vol.  I.  217. 
Chateau  of  Heltorf,  Vol.  II.  135. 
Chateau  of  Meudon,  Vol.  II.  50. 
Chateau  of  Neuilly,  Vol.  I.  256. 
Chateau  of  Schbnbrunn,  Vol.  II.  32. 
Chateau  Reineck,  Vol.  II.  271. 
Cheney,  Dwight,  Vol.  1.  128. 
Cheney,  John,  Vol.  I.  306. 
Chesneau,  Vol.  I.  188. 

Chew,  Samuel,  Vol.  I.  347. 
Chickering,  George,  Vol.  I.  356. 
Childs,  G.  W.,  Vol.  II.  359. 
Christie’s  sales,  Vol.  I.  236,  275  ; 

Vol.  II.  24,  68,  111. 

Church  of  Notre  Dame  de  Bon  Se- 
cours,  near  Rouen,  Vol.  II.  45. 
Church  of  St.  Nicolas  at  Hamburg, 
Vol.  II.  250. 

Cisco,  John  J.,  Vol.  II.  11,  75. 
Civil  List,  Vol.  1.  256,  297  ; Vol. 
II.  4. 

Claflin , William,  collection  of,  Vol. 

I.  63,  102,  130,  373 ; Vol.  11.  262. 
Claghorn  Collection,  Philadelphia, 

Vol.  1.  63  ; Vol.  11.  168,  225. 
Claghorn,  J.  Raymond,  Vol.  11.  81. 
Clark,  Edward,  Vol.  I.  66. 

Clark,  J.  H.,  Vol.  II.  345. 

Clark,  Miss  Jane,  Vol.  1.  231. 
Clark,  Mr.,  New  York,  Yol.  1.  292. 
Clark,  Rev.  E.  L.,  New  York,  Yol. 

II.  341. 


2G 


GENERAL  INDEX. 


Clarke,  H.,  Yol.  II.  1. 

Clarke,  Mr.,  of  New  York,  Yol.  II.  2. 
Clarke,  William  J.,  Yol.  I.  171. 
Clarke,  William  J.,  Jr.,  Yol.  II. 
217. 

Claymont,  Lady,  Yol.  I.  102. 
Clement,  Dr.  G.  C.,  Yol.  II.  176. 
Clement,  J.  H.,  Yol.  I.  52. 
Cleophas,  Mr.,  Yol.  1.  158. 
Cleveland,  Duke  of,  Yol.  II.  189. 
Clift,  S.,  Yol.  II.  280. 

Coale,  G.  B.,  Yol.  II.  102. 

Cochran,  Dr.  D.  G.,  Yol.  II.  72. 
Cochrane,  Alexander,  Yol.  II.  153. 
Colgate,  ]\Ir.,  Yol.  I.  340  ; Yol.  II. 
198. 

Colman,  Samuel,  Yol.  II.  236. 
Colonne  de  Juillet,  Paris,  Yol.  I.  223. 
Colt,  Colonel,  monument  to,  Yol. 
II.  218. 

Colt,  Mrs.,  Yol.  1.  137. 

Colton,  D.  D.,  Yol.  I.  111. 

Colyer,  Yincent,  Yol.  I.  144. 
Conder,  F.  R.,  Yol.  II.  229. 
Confederate  States,  Seal  of,  Yol.  I. 
259. 

Congressional  Library  at  Washing- 
ton, Yol.  II.  331. 

Constantine,  Salon  of,  Paris,  Yol. 
11.  318. 

Convent  of  the  Sacred  Heart,  Savan- 
nah, Yol.  1.  212. 

Cook,  Edward,  Yol.  II.  153. 

Cook,  Mr.,  New  York,  Yol.  1.  325. 
Cooke,  Jay,  Yol.  1.  92  ; Yol.  11. 
264,  310. 

Cooper,  A.  R.,  Yol.  I.  56. 

Cooper,  H.  P.,  Yol.  1.  64,  192  ; 

Yol.  11.  164,  254,  288. 

Corcoran  Gallery,  lYashington,  Yol. 
1.  17,  28,  38,  78,  89,  92,  112,  119, 
135,  137,  150,  200,  202,  238,  249, 
272,  290,  330,  355;  Yol.  11.  9,  18, 
47,  59,  60,  136,  168,  188,  189, 
194,  231,  238,  245,  314,  339,  371. 


Corkhill,  Colonel,  Yol.  1.  248. 
Cottier  k,  Co.,  New  York,  Yol.  1. 
288. 

Cottier  sale,  Yol.  II.  40,  89,  93, 

100. 

Cottrell  sale,  London,  Yol.  11.  188. 
Cowles,  Edwin,  Yol.  1.  242. 
Cozzens,  A.  M.,  Yol.  1.  144  ; Yol. 
11.  21,  350. 

Cracroft,  Bernard,  Yol.  1.  375. 
Cradle  presented  to  the  Prince  Im- 
perial, Yol.  1.  31. 

Creswick,  T.  R.,  R.  A.,  Yol.  1.  18  ; 
Yol.  11.  132. 

Crocker,  Charles,  Yol.  1.  356. 
Crocker  Gallery,  Yol.  1.  111. 
Crocker,  T.  D.,  Yol.  1.  242. 

Cro.sby,  W.  H.,  A^ol.  1.  61. 
Crnikshank  Collection,  Yol.  11.  216. 
Cutting,  Francis,  Yol.  11.  144. 

Dahlgreen,  the  hanker  (Gothen- 
burg), Yol.  1.  224. 

Dalhousie,  Earl  of,  Yol.  1.  234. 
Daly,  Judge,  Yol.  1.  111. 

Dalzell,  John,  Yol.  11.  43. 
D’Aubigny,  Jlr.  (New  York),  Yol. 
11.  11. 

Davis,  Janies,  Yol.  1.  159. 

Davis,  Morris,  Yol.  1.  277. 

Davis,  William  H.,  Yol.  II.  291. 
Day,  Dr.,  Yol.  1.  55. 

Day,  F.  0.,  Yol.  11.  149. 

De  Forest,  Henry  G.,  Yol.  II.  105, 
162. 

Delano,  Edwai-d,  Yol.  1.  296. 
Delaplanche,  Yol.  1.  86. 

Delessert  sale,  Yol.  1.  197. 
Demidoff  Collection,  Yol.  11.  107, 
109. 

Demidoff,  Prince,  Yol.  1.  37,  80. 
Demidoff  sale,  Yol.  1.  90  ; Yol.  11. 
189,  226. 

De  Mount,  Mrs.,  Yol.  1.  67. 

Denny,  John  F.,  Yol.  1.  325. 


GENERAL  INDEX. 


27 


Denon,  II.,  Vol.  I.  37. 

Derby,  H.  W.,  Vol.  II.  115,  343. 
De  Tretaigne  sale,  Vol.  I.  113. 
Devonshire,  Duchess  of,  Vol.  I.  5. 
Devonshire,  Duke  of,  Voi.  I.  37  ; 
Voi.  II.  345. 

De  Wolf,  Mr.,  Voi.  I.  128. 

Dickens,  Charles,  collection  of,  Voi. 
II.  268. 

Dinsmore,  Mr.,  Voi.  II.  264. 
Diorama  Montesquieu,  Voi.  I.  371. 
Ditson,  Oliver,  Voi.  II.  10. 
Divatiap,  Vol.  I.  33. 

Di.\',  Morgan,  Vol.  I.  168. 

Dix,  Mrs.,  Boston,  Vol.  II.  325. 
Dodge,  William  E.,  Vol.  I.  382  ; 
Vol.  II.  248. 

Dodge,  William  E.,  Jr.,  Vol.  II. 
248. 

Dolan,  Thomas,  Vol.  II.  225. 

Dole,  J.  H.,  Vol.  II.  251. 

Donelly,  Edward  G.,  Vol.  II.  102. 
Donizetti,  tomb  of,  Vol.  II.  314. 
Dorman,  E.  E.,  Vol.  II.  173. 

Dorr,  Charles  H.,  Vol.  I.  286. 
Douglas,  James,  Vol.  II.  219. 
Douglas  Monument,  Vol.  II.  327. 
Douglas,  William  P.,  Vol.  II.  261. 
Draper,  Dr.  W.  H.,  Vol.  I.  369. 
Drasche,  Princess,  Vol.  II.  27. 
Drexel,  A.  J.,  Vol.  II.  25. 

Drexel,  James  W.,  Vol.  II.  345. 
Drexel,  Mr.,  Vol.  II.  129. 

Dreyfus  Collection,  Vol.  II.  177. 
Dudley,  Earl,  Vol.  II.  189. 

Dudley  Gallery,  London,  Vol.  1. 

169,  246,  247  ; Vol.  II.  17,  321. 
Duff,  John,  Vol.  I.  32,  373. 
Dud'erin,  Earl,  Vol.  I.  84  ; Vol.  II. 
14,  359. 

Duke  d'Aumale,  Vol.  I.  195. 

Duke  de  Morny,  Vol.  IT.  370. 

Duke  of  Bavaria,  Vol.  II.  225. 
Duke  of  Cleveland,  Vol.  II.  189. 
Duke  of  Edinburgh,  Vol.  I.  95. 


Duke  of  Marlborough,  Vol.  I.  153. 
Duke  of  Orleans,  Vol.  I.  158,  194. 
Dumas  (fils).  A.,  Vol.  I.  135. 

Dun,  R.  G.,  Vol.  1.  1 ; Vol.  11.254. 
Duncan,  J.,  Vol.  I.  152. 

Dunraven,  Earl  of,  Vol.  1.  61. 
Duran,  Carolus,  Vol.  II.  192. 
Durfee,  B.  ]\I.  C.,  Vol.  I.  52. 
Durfee,  Mr.,  Fall  River,  Vol.  II.  20. 
Dutcher,  Mr.,  Vol.  II.  131. 

Dwight,  George,  Jr.,  Vol.  II.  252. 

Eagleswood  Art  Pottery,  Vol.  II. 
266. 

Eden  sale,  Vol.  I.  331. 

Edinburgh  Free  Presbytery,  Vol.  I. 
355. 

Edwards,  Anthony  & Co.,  Vol.  II. 
349. 

Eggers,  M.,  Vol.  II.  29. 

Egypt,  Khedive  of,  Vol.  I.  208 ; 
Vol.  II.  308. 

Elementary  Perspective,  Vol.  II. 
293. 

Elliot,  Colonel,  Vol.  II.  156. 
Elliott,  C.  L.,  Vol.  I.  321. 

Elliott,  L.  A.,  Vol.  I.  123. 
Ellesmere,  Earl  of,  Vol.  I.  246,  296, 
301. 

Elting,  Robert,  Vol.  I.  248. 

Elton,  Mrs.  John  P.,  Vol.  II.  11. 
Emperor  Napoleon  111.,  Vol.  I.  153, 
158,  208  ; Vol.  II.  10,  107,  195, 
242,  314. 

Emperor  of  Austria,  Vol.  II.  29,  184. 
Emperor  of  Brazil,  Vol.  I.  208. 
Emjieror  of  Germany,  Vol.  I.  117, 
254  ; Vol.  II.  119,  182,  270. 
Emperor  of  Russia,  Vol.  I.  222 ; 
Vol.  II.  187. 

Empre.ss  Eugenie,  Vol.  I.  73,  329, 
342  ; Vol.  II.  352. 

Empress  of  Russia,  Vol.  I.  217. 
Empress  of  Russia,  portrait  of,  by 
Veruet,  Vol.  II.  316. 


28 


GENERAL  INDEX. 


Erhardt,  Col.  Joel  B.,  VoL  II.  248. 
Erskiue,  John,  Vol.  I.  358  ; Vol. 
II.  190. 

Essex  County  Bar,  Vol.  I.  373. 
Evarts,  William  M.,  Vol.  I.  369. 
Everett,  Edward,  Vol.  I.  314. 
Everett,  Mrs.  E.  B.,  Vol.  II.  367. 
Eyries,  M.  Gustave,  Vol.  II.  254. 

Fairbanks,  Governor,  of  Vermont, 
Vol.  I.  102,  325  ; Vol.  II.  131. 
Fairchild,  Mrs.  Charles,  Vol.  II. 
265. 

Falconer,  J.  M.,  Vol.  I.  144,  309  ; 
Vol.  II.  134. 

Falshaw,  Sir  James,  Vol.  1.  234. 
Farnham,  Dr.  H.  P.,  Vol.  II.  150, 
286. 

Farragut,  Loyall,  Vol.  II.  248. 
Farrobo,  Count  of,  Vol.  I.  260. 
Farwell,  Hon.  Charles,  Vol.  II. 
164. 

Faulkner,  F.  A.,  Vol.  II.  287. 
Faull,  John  A.,  Vol.  I.  357. 

Faure  sale,  Vol.  II.  118. 

Fawsett,  Godfrey,  Vol.  II.  44. 

Fay,  K.  S.,  Vol.  II.  169. 

Fenno,  Isaac,  Vol.  I.  306. 
Ferdinand  I.,  Vol.  I.  267. 
Ferdinand  II.,  Vol.  II.  89. 
Fernandina,  Conde  de,  Vol.  I.  143. 
Ferrin  (fils),  E.,  Vol.  I.  271. 

Field,  Benjamin  H.,  Vol.  I.  227. 
Field,  David  Dudley,  Vol.  II.  250. 
Fields,  James  T.,  Vol.  II.  227. 
Fields,  Osgood  & Co.,  Vol.  I.  19. 
Fish,  Hamilton,  Vol.  I.  170  ; Vol. 
II.  161. 

Fitzgerald,  Mr.,  Vol.  I.  92. 
Fitzwilliam  kluseum,  Cambridge, 
Eng.,  Vol.  I.  36. 

Flagg,  Augustus,  Vol.  I.  103. 
Flagg,  Thomas  J.,  Vol.  II.  218. 
Flower,  Mrs.  P.,  Vol.  II. 

Fodor,  M.,  Vol.  I.  77. 


Forbes,  James  Staats,  Vol.  II.  282. 
Forbes  sale,  Vol.  1.  91,  385  ; Vol. 
II.  24. 

Force,  John  C.,  Vol.  II.  145,  281. 
Foster,  Birket,  Vol.  II.  13. 

Foster,  C.  0.,  Vol.  II.  250. 

Foster,  John,  Vol.  II.  218. 

Fould,  M.,  Vol.  II.  67. 

Fould  sale,  Paris,  Vol.  I.  195. 
French,  Hon.  E.  B.,  Vol.  I.  249. 
French,  S.  L.,  Vol.  II.  10. 

Frith,  W.  P.,  R.  A.,  Vol.  II.  178. 
Frodsham,  Mm.,  Vol.  II.  103. 
Frothingham,  A.  R.,  Vol.  II.  351. 

Gallery  of  Bruges,  Vol.  I.  208. 
Gallery  of  Capo  di  Monte,  Vol.  II. 
131. 

Gallerj'  of  Grenoble,  Vol.  I.  341. 
Gallery  of  Modern  Paintings,  Flor- 
ence, Vol.  I.  124  ; Vol.  II.  140, 
186,  308. 

Gallery  of  the  Trianon,  Vol.  I.  188. 
Gallery  Vernet,  at  Avignon,  Vol.  II. 
318. 

Gandy,  Shepherd,  Vol.  I.  78  ; Vol. 
II. *21. 

Gamer,  W.  T.,  Vol.  II.  254. 
Garrett,  J.  W.,  Vol.  1.  346. 
Garrick  Club,  London,  Vol.  I.  140. 
Gavet,  51.,  Vol.  II.  118. 

George  IV.,  Vol.  II.  137. 

Gerrard,  ill's.  William  H.,  Vol.  II. 

11. 

Gibbs,  ilaj.  Theodore,  Vol.  I.  173, 
192. 

Gibson,  ilr.,  Vol.  II.  240. 

Gibson,  Mm.,  Vol.  II.  290. 

GiUott  sale,  Vol.  I.  241,  272. 
Gilsey,  ilr.  Henry,  Vol.  II.  153. 
Girard  College,  Vol.  11.  331. 
Girard,  51.,  hotel  of,  Vol.  I.  237. 
Gladstone,  Mr.,  Vol.  I.  293;  Vol. 
II.  139. 

Gladstone,  statue  of,  Vol.  I.  4. 


GENERAL  INDEX. 


29 


Glasgow  Fine  Art  Loan  Exhibition, 
Vol.  I.  25,  135  ; Vol.  II.  55. 
Goddard,  William,  Vol.  I.  294. 
Godwin,  Edward  W.,  Vol.  II.  272. 
Godwin,  Parke,  Vol.  II.  102,  331. 
Goldthwaite,  Joel,  Vol.  I.  271. 
Goodrich,  F.,  Vol.  I.  255. 

Gordon,  Robert,  Vol.  I.  101,  247, 
248,  294,  295  ; Vol.  II.  86,  104, 
117,  335. 

Gorfounkel,  M.,  Vol.  I.  75. 

Goupil,  Vol.  I.  264,  302, 
Government  buildings  at  Constance, 
Vol.  II.  329. 

Gradinger,  Mme.  de,  Vol.  II.  73. 
Graham,  J.  L.,  Jr.,  Vol.  I.  56. 
Grand  Duchess  Maria  of  Russia, 
Vol.  I.  82,  106. 

Grand  Duke  of  Carlsrulie,  Vol.  I. 
251. 

Grand  Duke  Wladimir  Aleksandro- 
witsch,  Vol.  I.  222. 

Grant,  Mr.,  of  Foxburg,  Pa.,  Vol. 
II.  345. 

Graves,  Robert,  Vol.  II.  127. 

Gray,  Bryce,  Vol.  11.  164. 

Gray,  David,  Vol.  II.  249. 

Gray,  John  A.  C.,  Vol.  I.  340. 
Green,  Mrs.  John  C.,  Vol.  II.  297. 
Green,  W.  S.,  Vol.  I.  146. 

Greene,  Copley,  Vol.  II.  102. 
Greene,  Gen.  Colton,  Vol.  I.  321. 
Gregory,  Charles  E.,  Vol.  I.  347. 
Groesbeck,  William  S.,  Vol.  II.  282. 
Grosbeak,  David,  Vol.  II.  278. 
Grosvenor  Gallery,  Vol.  I.  169,  326; 

Vol.  II.  17,  125,  147,  269,  337. 
Gsell  sale,  Vol.  I.  166. 

Guichard,  M.  J.,  Vol.  I.  57. 
Guiffrey,  Vol.  II.  4. 

Haddock,  D.,  Jr.,  Vol.  II.  359. 
Haden,  Seymour,  Vol.  II.  50. 

Hall,  Alvah,  Vol.  II.  14. 

Hamilton,  AV.  H.,  Vol.  II.  260. 


Hamlin,  Mr.,  Vol.  I.  311,  356. 
Hampton,  John  W.,  Vol.  II.  43. 
Hardwick,  Earl  of,  Vol.  I.  111. 
Harper  & Brothers,  Vol.  I.  1,  19. 
Harper,  Fletcher,  Vol.  II.  360. 
Harper,  Fletcher,  Jr.,  Vol.  II.  206, 
248. 

Harper,  J.  Abner,  Vol.  II.  206,  248. 
Harper,  J.  Henry,  Vol.  II.  164. 
Harper,  J.  W.,  Vol.  I.  1. 

Harper,  Joseph,  Jr.,  Vol.  I.  362. 
Harriman,  Oliver,  Vol.  II.  75. 
Harriot,  S.  J.,  Vol.  I.  334  ; Vol.  II. 
209. 

Harris,  Edward,  Vol.  I.  26. 
Harrison  Collection,  Philadelphia, 
Vol.  I.  63. 

Harrison,  Mr.,  Vol.  II.  359. 

Hart,  James  M.,  Vol.  II.  281. 
Harvard  Library,  Vol.  I.  306. 
Harvey,  A.  F.,  Vol.  11.  250. 
Plaseltine,  Arthur,  Vol.  11.  77. 
Haskell,  E.  B.,  collection  of,  Vol. 

I.  56,  309,  315  ; A^ol.  11.  87,  100, 
313. 

Hatch,  Rufus,  Vol.  1.  210. 
Haverraeyer,  Charles  F.,  Vol.  11. 
261. 

Haviland  faience,  Vol.  1.  25,  85, 
86  ; Vol.  II.  69,  152. 

Hawk,  Mr.,  Vol.  1.  Ill,  202  ; Vol. 

II.  7,  301. 

Hawkins,  Col.  RushC.,  Vol.  1.  101, 
335. 

Hawkins,  Judge  W.  G.,  Vol.  11.  43. 
Hay,  Col.  John,  Vol.  1.  294,  296  ; 

Vol.  II.  265. 

Hay,  R.,  Vol.  1.  231. 

Hayden,  Albert,  Vol.  1.  64. 

Healy,  Aaron,  Vol.  11.  2. 

Hearne,  George,  Vol.  11.  258. 
Hede,  M.,  Vol.  11.  248. 

Hemans,  Charles  J.,  Vol.  11.  1. 
Hemenway,  Mrs.  Augustus,  Vol.  1. 
270. 


30 


GENERAL  INDEX. 


Herman,  Mr.,  Vol.  1.  158. 
Hermann,  Prince,  monument  to, 
Vol.  I.  32. 

Hermon,  E.,  M.  P.,  Vol.  I.  345. 
Herrinian,  Mrs.,  Vol.  II.  60. 
Hertford,  Lord,  Vol.  I.  90. 

Higgins,  Robert,  Vol.  II.  77. 

Hilf,  Maria,  church  of,  Munich, 
Vol.  I.  352. 

Hilton,  Judge,  Vol.  I.  61,  210  ; 

Vol.  II.  127,  281. 

Hitchcock,  Dr.  E.  W.,  Vol.  I.  149. 
Hitz,  John,  Vol.  1.  249. 

Hoag,  Daniel  T.,  Vol.  I.  296. 

Hoe,  Mr.,  Vol.  1.  67,  378. 

Hoe,  Robert,  Vol.  I.  313  ; Vol.  II. 
21,  105. 

Holcombe,  Dr.,  Vol.  I.  64. 

Holland,  Dr.  J.  G.,  Vol.  I.  247. 
Holland,  Queen  of,  Vol.  I.  67,  279, 
385  ; Vol.  II.  176,  310. 

Hollis,  G.  W.,  Vol.  II.  14. 

Holmes,  J.  E.,  Vol.  II.  348. 
Holmes,  Oliver  Wendell,  Vol.  II. 
139. 

Holt,  Henry,  Vol.  II.  105. 

Hooper,  Miss,  Vol.  I.  230  ; Vol. 
II.  30. 

Horne,  R.  H.,  Vol.  II.  95. 

Horton,  F.  N.  D.,  Vol.  I.  238. 
Hoschede,  M.,  Vol.  II.  170. 
Hotchkiss,  Justus,  Vol.  II.  343. 
Houghton,  Lord,  A'ol.  II.  61. 
Houghton,  Mr.,  A^ol.  1.  183. 
Houghton,  Osgood  & Co.,  A'^ol.  1.1, 
19. 

Howard,  George,  A’’ol.  1.  179. 
Howard,  Sir  George,  Vol.  11.  50. 
Howe,  George  D.,  Vol.  1.  103. 
Howe,  J.  C.,  Vol.  11.  250. 

Howell,  H.  C.,  Vol.  11.  236. 

Howes,  Miss  E.,  Vol.  1.  103. 
Howitt,  AVilliam  and  Mary,  Vol.  11. 
164. 

Howland,  H.  E.,  Vol.  I.  111. 


Hoyt,  Edwin,  Vol.  I.  312. 

Hugo,  Victor,  Vol.  1.  371. 
Humbert,  King  of  Italy,  VoL  1.  39, 
53. 

Humboldt,  Baron,  A^ol.  1.  355. 
Humphrey,  W.  H.,  A''ol.  11.  10. 
Hunnewell,  Mr.,  Vol.  1.  254. 
Hunt,  Dr.  E.  K.,  Vol.  11.  303. 
Hunt,  S.  V.,  Vol.  11.  21. 
Huntington,  C.  P.,  A'ol.  11.  75. 
Hutchinson,  C.  L.,  Vol.  11.  251. 
Huth,  Louis,  Vol.  11.  44. 

Illinois  State  House,  Vol.  11.  327. 
Industrial  JIuseum,  Scotland,  Vol. 
1.  266. 

Ingei-soll,  James  H.,  A'ol.  11.  143. 
Ingi-am,  AV.  AL  P.,  A"ol.  11.  124. 
International  Exhibition  of  London, 
lonides,  Air.,  A^ol.  11.  51. 

buildings  of,  Vol.  1.  266. 

Irwin,  AAhlliam  D.,  A’^ol.  11.  261. 
Ives,  Brayton,  A'ol.  1.  97. 

Jackson,  Andrew,  A^ol.  11.  348. 
Jaffrey,  John,  Vol.  II.  13. 

James,  F.,  of  Philadelphia,  A'oL  I. 
40. 

James,  Henry,  A’’ol.  11.  105. 

James,  Airs.  John  W.,  A'’ol.  1.  240. 
Jameson,  J.  A.,  Vol.  11.  254. 

Jarvis,  N.,  A’’ol.  11.  208. 

Jefferson  College,  A^ol.  1.  232. 
Jenkins,  A.,  Vol.  11.  208. 

Jerome,  L.,  A'ol.  1.  238,  384. 
Jessup,  Alorris  K.,  A’^ol.  1.  137,  144  ; 

A^ol.  11.  21,  227. 

Jewett,  John  AAL,  A'^ol.  11.  343. 
Johnson,  Eastman,  Vol.  1.  133. 
Johnson,  Air.,  of  Philadelphia,  A’ol. 
1.  55. 

Johnston,  J.  H.,  A’ol.  I.  2S7. 
Johnston,  John  AT.,  A’ol.  1.  173. 
Johnston,  John  Tajdor,  A’ol.  1.  44, 
52,  192,  334,  337,  339,  378  ; A’ol. 


GENERAL  INDEX. 


31 


II.  64,  105,  129,  209,  242,  245, 
263,  277,  297,  305,  342. 

Johnston,  Mrs.  Honry  E.,  Vol.  I. 

100. 

Johnston  sale,  Vol.  I.  3,  10,  17,  42, 
46,  53,  71,  78,  80,  91,  94,  96, 
123,  124,  129,  134,  137,  139, 

144,  159,  184,  188,  195,  197, 

200,  205,  212,  215,  225,  227, 

230,  231,  235,  238,  240,  252, 

265,  272,  290,  293,  294,  296, 

302,  322,  329,  335,  337,  344, 

346,  348,  360,  362,  370,  376,  382, 
384,  385  ; Vol.  II.  12,  18,  21, 
24,  26,  34,  57,  59,  85,  107,  109, 
112,  113,  136,  139,  162,  165,  170, 
185,  186,  193,  198,  217,  231,  239, 
251,  256,  302,  305,  311,  313,  314, 
315,  322,  352,  356,  361,  369,  371. 

Jones,  Mr.,  of  Brooklyn,  Vol.  II. 
104. 

Jordan,  Eben,  Vol.  II.  139. 

Judson,  Dr.,  of  St.  Petersburg, 
Russia,  Vol.  II.  254. 

Judson,  W.  D.,  Vol.  II.  164. 

Jupiter  Parhellenien  Temple  in 
Greece,  Vol.  I.  281. 

Kearney,  Gen.  Philip,  Vol.  II.  281, 
348. 

Keep  Monument  in  Watertown, 
N.  Y.,  Vol.  II.  327. 

Kempton,  Mrs.  Jenny  F.,  Vol.  II. 
251. 

Kendall,  AV.  B.,  A^ol.  I.  95. 

Kennard,  T.  AV.,  A^ol.  I.  61. 

Kensett,  J.  E.,  A^ol.  II.  30. 

Kensett,  Thomas,  Vol.  1.  95,  149. 

Kent,  Duchess  of,  statue  at  Frog- 
more,  Vol.  II.  287. 

Ketchum,  Morris,  Vol.  I.  122. 

Khalil-Bey  sale,  A’'ol.  I.  90,  140, 
290  ; Vol.  II.  109,  304. 

Khedive  of  Egypt,  Vol.  I.  208;  Vol. 
II.  308. 


Kidder,  H.  P.,  collection  of,  Vol. 
I.  58,  75,  80,  159,  192,  225,  270, 
324,  342  ; Vol.  II.  328,  369. 
Kimball,  Frank  R.,  A"ol.  II.  245. 
Kimball,  Mrs.  E.  D.,  A"ol.  I.  102, 
184,  358  ; Vol.  II.  264,  339. 
King  George,  Vol.  II.  103. 

King,  Henry  AA^.,  Vol.  I.  231. 

King  Louis,  Vol.  II.  243. 

King  Ludwig,  palace  of,  Vol.  11.  19. 
King,  Mrs.  AVilliain  IL,  Vol.  11.  11. 
King  of  Bavaria,  A'ol.  1.  77,  117, 
260. 

King  of  Belgium,  Vol.  1.  208,  228, 
279  ; Vol.  IL  257,  273,  352,  356. 
King  of  France,  A^ol.  1.  297. 

King  of  Hanover,  Vol.  1.  117. 

King  of  Holland,  A'ol.  II.  257. 
King  of  Portugal,  Vol.  IL  257. 
King  of  AAT'stphalia,  A"ol.  IL  316. 
Kncedler,  M.,  Vol.  1.  25. 

Knowles  sale,  Vol.  1.  73. 

Knyfl',  Chevalier  de,  Vol.  IL  27. 
Kolbacher,  Herr,  Vol.  IL  177. 

Laderell,  Count,  Vol.  1.  53. 

Lamont  sale,  Vol.  1.  43. 

Landi.s,  Mrs.,  A'ol.  1.  40. 

Lane,  Miss  Harriet,  Vol.  1.  100. 
Lanthier,  L.  A.,  Vol.  IL  11. 
Lardner,  Mrs.  John,  A'^ol.  IL  354. 
Latham  sale,  Vol.  1.  25,  44,  46,  73, 
80,  90,  112,  139,  153,  193,  205, 
279,  290,  329,  353  ; Vol.  IL  18, 
24,  26,  49,  67,  84,  107,  113,  149, 
231,  245,  273,  301,  304,  315, 
323,  326,  352. 

Lathrop,  D.  J.,  Vol.  1.  287. 
Laurent-Richard  sale,  Paris,  Vol.  1. 

194,  205  ; A"ol.  IL  226,  302,  371. 
La  A^alette,  Count  AVelles  de,  Vol. 
1.  200. 

Lawrence,  Abbott,  Vol.  1.  ISO. 
Lawrence,  Henry  E.,  A''ol.  1.  295. 
Lawrence,  Mrs.  H.  E.,  Vol.  IL  128. 


32 


GENERAL  INDEX. 


Lawrence,  James,  Vol.  11.  139. 
Lawrence,  Mrs.  T.  Bigelow,  Vol.  I. 
151,  168. 

Lawrence,  Sir  Thomas,  Vol.  1.  181. 
Lee,  Mrs.  Gideon,  Vol.  11.  252. 
Lehon  sale,  Paris,  Vol.  1.  188,  190  ; 
Vol.  11.  109. 

Lenox,  James,  Vol.  1.  61, 144  ; Vol. 
II.  62,  134. 

Leopold  11. , Vol.  I.  249. 

Lessona,  Sig.,  Vol.  II.  131. 

Leupp  Collection,  Vol.  1.  227,  235, 
382. 

Lewis,  Arthur,  Vol.  1.  385. 

Lewis,  F.  W.,  Vol.  11.  259. 

Library  of  the  Luxembourg,  Vol.  11. 
254. 

Library  of  St.  Genevieve,  Vol.  1. 
201. 

Liebig,  Baron,  Vol.  11.  177. 

Lille,  Museum  or  Gallery  of,  Vol. 
1.  40,  62,  7.5,  226,  359  ; Vol.  II. 
47,  53,  147,  240. 

Lincoln,  D.  Waldo,  Vol.  11.  156, 
240. 

Lincoln,  Mrs.,  Vol.  1.  100. 

Lindsay,  Sir  Coutts,  Vol.  1.  179. 
Litta,  Duke  Antonio,  Vol.  11.  314. 
Livei-more,  Mrs.  George,  A'’ol.  11. 
367. 

Livermore,  E.  B.,  Vol.  II.  248. 
Lizardi,  M.  de,  Vol.  II.  103. 
Lockwood,  Le  Grand,  Vol.  I.  337. 
London  sale,  Vol.  I.  197,  272,  280, 
323,  331,  342  ; Vol.  II.  23,  67, 
84,  109,  111,  304,  305. 
Longfellow,  H.  W.,  Vol.  1.  102, 
212,  270  ; Vol.  II.  290. 
Long.street,  Sirs.  A.  C.,  Vol.  11. 174. 
Longworth  Collection,  Vol.  I.  92. 
Lord,  George  De  Forest,  Vol.  1.  369. 
Lord,  Samuel,  Vol.  1.  294. 
Lorillard,  L.  L.,  Vol.  II.  261. 
Lome,  Slarchioness  of,  Vol.  I.  87  ; 
Vol.  11.  355. 


Lome,  Slarquis  of,  Vol.  1.  326. 

Lotus  Club,  New  York,  Vol.  II.  278. 

Louis  I.  of  Bavaria,  VoL  II.  76, 
207. 

Louis  Philippe,  Vol.  1.  256  ; Vol. 
II.  318. 

Louvre  Sluseum,  Vol.  I.  1,  4,  27, 
31,  38,  39,  70,  77,  163,  182,  184, 
187,  201,  203,  206,  218,  220, 
223,  230,  243,  385  ; Vol.  II.  86, 
114,  254. 

Low,  A.  A.,  Vol.  1.  94  ; Vol.  11. 
163. 

Low,  J.  0.,  Vol.  II.  287. 

Lutkins,  Dr.,  Vol.  II.  165. 

Luxembourg,  Gallery  of,  Vol.  I.  2, 
3,  8,  12,  15,  20,  35,  38,  40,  45, 
50,  51,  53,  5.5,  57,  58,  59,  60,  62, 
65,  66,  70,  72,  74,  79,  90,  91,  92. 
112,  113,  126,  129,  134,  135,  136, 
138,  156,  158,  163,  166,  170,  177, 
179,  184,  187,  188,  193,  196,  198, 
200,  201,  203,  212,  218,  219,  220, 
223,  226,  230,  2-37,  241,  247,  252, 
258,  261,  266,  267,  271,  275,  289, 
290,  292,  297,  300,  301,  302,  306, 
316,  318,  319,  328,  329,  332,  342, 
343,  345,  353,  359,  372,  384,  385  ; 
Vol.  II.  4,  7,  8,  9,  18,  24,33,  34, 
39,  40,  42,  45,  47,  49,  50,  52,  53, 
57,  58,  59,  60,  64,  65,  73,  86,  87, 
91,  99,  106,  111,  118,  120,  124, 
1-30,  134,  136,  142,  154,  157,  163, 
167,  170,  172,  178,  185,  186,  201, 
203,  204,  211,  212,  215,  221,  220, 
228,  230,  245,  246,  248,  253,  255, 
280,  238,  298,  301,  302,  307,  321, 
327,  339,  361,  370. 

Luxembourg,  Garden  of,  VoL  1.  74, 
140  ; Vol.  II.  86. 

Luxembourg,  library  of  the,  Vol. 
II.  254. 

Luyiies,  Duke  de,  Vol.  1.  126,  218  ; 
Vol.  II.  9,  254. 

Lyman,  Theodore,  Vol.  11.  230. 


GENERAL  INDEX. 


33 


Maclaggan,  P.,  M.  P.,  Vol.  I.  234. 
Maclay,  Mrs.  Marcus,  Vol.  I.  143. 
Madeleine,  the  church  of  the,  Paris, 
Vol.  I.  77,  163,  228,  241  ; Vol. 
II.  57,  87,  94,  253,  301. 

Magee,  George,  Vol.  I.  64. 

Maghee,  J.  H.,  Vol.  I.  323. 

Maison  d’Or,  Paris,  Vol.  11.  46. 
Maison  du  Eoi,  Vol.  11.  316. 
Majoribanks,  Sir-  Dudley  Coutts, 
Vol.  I.  39. 

Mally,  Mr.,  Vol.  I.  211. 

Manzoni,  Count,  of  Forli,  Vol.  I.  5. 
Marcelle,  Camille,  Vol.  II.  92. 
Marchioness  of  Lome,  Vol.  I.  87  ; 
Vol.  II.  355. 

Margetson,  John,  Vol.  I.  106. 
Maria,  Grand  Duchess,  Vol.  I.  82, 106. 
Maria  Louisa,  Vol.  11.  316. 

Marks,  Henry,  Vol.  11.  43. 
Marlborough,  Duke  of,  Vol.  I.  153. 
Marquand,  H.  G.,  Vol.  11.  64,  349. 
Marquis  du  Lau,  Vol.  I.  195. 
Marquis  of  Lome,  Vol.  1.  326. 
Marsden,  Mr.,  Vol.  11.  116. 

Martin,  Moms,  Vol.  11.  266. 
Mason,  Robert  M.,  Vol.  11.  10. 
Matthews,  Mr.,  Vol.  11.  369. 
Maximilian  L,  Vol.  1.  182. 
Maximilian  11.,  Vol.  11.  233. 
Maximilian  Church  at  Diisseldorf, 
Vol.  11.  250. 

Maximilian,  Duke,  palace  of,  Vol. 
11.  19. 

Maximilineum  at  Munich,  Vol.  I. 

319  ; Vol.  11.  182. 

Maxwell,  A.,  Vol.  I.  343. 

Mayer,  C.  L.,  Vol.  II.  102. 
Maynard,  E.  D.,  Vol.  11.  12. 
Maynard,  Mrs.  H.  E.,  collection  of, 
Vol.  I.  15,  27,  96,  97,  130,  150, 
184,  205,  225,  230,  252,  254,  273, 
383  ; Vol.  II.  33,  78,  111,  113, 
167,  210,  214,  222,  245,  285,  298, 
311,  315,  32^,  369. 


Mayo,  Miss,  Vol.  I.  168. 

McAlpine,  D.  H.,  Vol.  11.  292. 
McCoy,  J.  W.,  Vol.  I.  97,  369  ; 
Vol.  11.  102. 

McHenry,  James,  Vol.  I.  61. 
McKay,  Gordon,  Vol.  11.  2. 

Means,  Mr.,  Vol.  1.  55. 

Mechanics’  Fair,  Boston,  1878,  Vol. 

I.  44,  75,  76,  240,  278,  287,  305, 
309,  315,  324,  325,  326,  342,  373, 
383  ; Vol.  11.  5,  12,  72,  84,  87, 
93,  100,  156,  169,  210,  288,  303, 
313. 

Mecklenbourg,  Duke  of,  Vol.  11. 
244. 

Meiggs,  John  G.,  Vol.  1.  111. 
Melcher,  John  L.,  Vol.  11.  117. 
Mellen,  Abner,  Jr.,  Vol.  11.  12. 
Mellen,  Mrs.  Abner,  Vol.  11.  64. 
Merrick,  E.,  Vol.  1.  64. 

Men'ill,  Moody,  Vol.  1.  292. 
Messenger,  T.,  Vol.  1.  296. 
Middleton,  John,  Vol.  11.  96. 
Mieville,  M.,  Vol.  II.  51. 

Milbank,  Jeremiah,  collection  of, 
Vol.  1.  16,  130  ; Vol.  II.  Ill, 
202 

Millbank,  Joseph,  Vol.  II.  297. 
Miller,  C.  H.,  Vol,  I.  358  ; Vol.  11. 
264. 

Miller,  E.  H.,  Vol.  II.  290. 

Mills,  D.  O.,  Vol.  11.  106,  144. 
Ministry  of  the  Beaux-Arts,  Vol.  1. 
113,  156,  196,  371  ; Vol.  11.  192, 
196,  233,  322. 

Ministry  of  the  Interior,  Vol.  1. 
273,  297. 

Ministry  of  Public  Instruction,  Vol. 

II.  196. 

Ministry  of  State,  Vol.  1.  258,  371  : 
Vol.  II.  7. 

Mitchell,  Mrs.  A.,  Vol.  11.  297. 
Mitchell,  Vance  & Co.,  Vol.  I.  37. 
Monastery  of  Visitation  at  Troyes, 
Vol.  II.  10. 


34 


GENERAL  INDEX. 


Moncke,  Lord,  Vol.  II.  164. 
Montaiglon,  Anatolede,  Vol.  II.  55. 
Monument  de  Juillet,  Paris,  Vol.  I. 
221. 

Moore,  Jolin  M.,  Vol,  I.  231. 

Moore,  K.  E.,  Vol.  11.  128. 
Morehead,  W.  G.,  Vol.  II.  1. 
Morgan,  E.  D.,  Vol.  I.  192,  335  ; 

Vol.  II.  189,  230,  313. 

Morgan,  George  D.,  Vol.  II.  297. 
Morgan,  James  L.,  Vol.  II.  351. 
Morgan,  William  F.,  Vol.  II.  220. 
Momy,  M.  de,  Vol.  I.  73. 

Morrill,  Mr.,  Vol.  II.  13. 

Mosher,  Dr.,  Vol.  II.  96. 

Mouchy,  Duke  de,  Vol.  I.  119. 
Moulton,  F.  D.,  Vol.  1.  121. 

Mount  Auburn,  Vol.  I.  84,  371  ; 
Vol.  II.  277. 

Munger,  A.  A.,  Vol.  II.  251. 
Munson,  E.  A.,  Vol.  II.  11. 

Murger,  tomb  of,  Vol.  II.  121. 
Murthley  Castle,  Vol.  II.  117. 
Musard  Hotel,  Vol.  I.  129. 

Museum  of  Alen9on,  Vol.  II.  42, 
50. 

Museum  of  Amiens,  Vol.  I.  35,  73  ; 
Vol.  II.  59. 

Museum  of  Angers,  Vol.  I.  184. 
Museum  at  Avignon,  Vol.  II.  317. 
Museum  of  Bale,  Vol.  I.  68  ; Vol. 
II.  313. 

Museum  of  Bordeaux,  Vol.  I.  62, 
143,  228,  343  ; Vol.  II.  240,  284. 
Museum  of  Boulogne,  Vol.  II.  47. 
Museum  of  Brescia,  Vol.  I.  250. 
Museum  of  Brussels,  Vol.  I.  328  ; 
Vol.  II.  67,  99,  143,  257,  273, 
310,  315. 

Museum  of  Caen,  Vol.  I.  241  ; Vol. 
II.  9. 

Museum  of  Cambrai,  Vol.  I.  196. 
Museum  of  Carcassone,  Vol.  1.  206. 
Museum  of  Carlsrube,  Vol.  I.  278. 
Museum  of  Charles  X.,  Vol.  II.  318. 


Museum  of  Cologne,  Vol.  I.  53 ; 

Vol.  II.  244,  271,  313. 

Museum  of  Courtrai,  Vol.  II.  22. 
Museum  of  Dijon,  Vol.  I.  1,  113, 
206,  301  ; Vol.  II.  50,  147. 
Museum  of  Douai,  Vol.  I.  134, 
158. 

Museum  of  Dresden,  Vol.  II.  249, 
326. 

Museum  of  Frankfort,  Vol.  II.  67, 
177. 

Museum  of  Geneva,  Vol.  I.  206. 
Museum  of  Ghent,  V ol.  I.  82,  320  ; 
Vol.  II.  67. 

Museum  of  Haarlem,  Vol.  II.  113, 
144. 

Museum  of  The  Hague,  Vol.  I.  82  ; 
Vol.  II.  143. 

I Museum  of  Hamburg,  Vol.  I.  287  ; 
Vol.  II.  253. 

Museum  of  Havre,  Vol.  II.  42,  132. 
Museum  of  Kbnigsberg,  Vol.  I.  89, 
172  ; Vol.  II.  244. 

Museum  of  Langres,  Vol.  I.  76, 
158. 

Museum  of  Lausanne,  Vol.  I.  206, 
302. 

Museum  of  Leipsic,  Vol.  I.  5,  50, 
54,  60,  106,  114,  191,  239,  283, 
284,  289,  318,  324,  351,  352  ; 
Vol.  II.  7,  26,  69,  76,  186,  193, 
194,  206,  222,  240,  243,  244, 
246,  248,  263,  267,  284,  304, 
326,  328,  339,  358. 

Museum  of  Liege,  Vol.  1.  279. 
Museum  of  Lille,  Vol.  1.  40,  62,  75, 
226,  359  ; Vol.  11.  47,  53,  147, 
240. 

Museum  of  Louvain,  Vol.  11.  99. 
Museum  of  the  Louvre,  Vol.  1.  1, 
4,  27,  31,  38,  39,  70,  77,  163, 
182,  184,  187,  201,  203,  206,  218, 
220,  223,  230,  243,  385  ; Vol.  11. 
86,  114,  254. 

Museum  of  Madrid,  Vol.  I.  124. 


GENERAL  INDEX. 


35 


Museum  of  Marseilles,  Vol.  I.  158, 
196,  328,  330  ; Vol.  II.  179,  196, 
264. 

Museum  Metropolitan  of  New  York, 
Vol.  I.  151,  170  ; Vol.  II.  312, 
349. 

Museum  of  Metz,  Vol.  I.  158. 

Museum  of  Mons,  Vol.  I.  82. 

Museum  of  Montauban,  Vol.  I.  301. 

Museum  of  Montpellier,  Vol.  I.  58. 

Museum  of  Mulhouse,  Vol.  I.  301. 

Museum  at  Munich,  Vol.  II.  29, 
193,  242,  244. 

Museum  of  Nantes,  Vol.  I.  40,  90, 
184. 

Museum  of  Narbonne,  Vol.  I.  97. 

Museum  of  Neuchat el,  Vol.  I.  299. 

Museum  of  Nevers,  Vol.  I.  330. 

Museum  of  Nimes,  Vol.  I.  60. 

Museum  of  Niort,  Vol.  I.  76. 

Museum  of  Orleans,  Vol.  I.  20. 

Museum  of  Pau,  Vol.  I.  134. 

Museum  of  Pesth,  Vol.  II.  329. 

Museum  of  Rouen,  Vol.  I.  129 ; 
Vol.  II.  132,  254. 

Museum  of  St.  Omer,  Vol.  I.  223. 

Museum  of  San  Marco,  Florence, 
Vol.  I.  39. 

Museum  of  Stockholm,  Vol.  I.  57, 
359  ; Vol.  II.  197. 

Museum  of  Strasbourg,  Vol.  I.  237. 

Museum  of  Toulouse,  Vol.  I.  384  ; 
Vol.  II.  42. 

Museum  of  Tours,  Vol.  II.  47. 

Museum  of  Troyes,  Vol.  II.  10,  254, 
255. 

Museum  of  Valence,  Vol.  II.  47. 

Museum  of  Vendome,  Vol.  I.  134. 

Museum  of  Versailles,  Vol.  I.  3,  16, 
22,  31,  45,  50,  51,  65,  138,  143, 
163,  182,  187,  203,  223,  228, 
241,  250,  279,  281,  297,  299, 
318,  343,  384,  385  ; Vol.  II.  4, 
33,  39,  101,  114,  178,  181,  186, 
215,  221,  253,  254,  276,  318,  332. 


Museum  of  Vienna,  Vol.  I.  64,  117, 
315,  379  ; Vol.  II.  124. 

Napoleon  I.,  Vol.  I.  37. 

Napoleon  III.,  Vol.  I.  153,  158, 
208  ; Vol.  II.  10,  107,  195,  242, 
314,  352. 

Nash,  J.  F.,  Vol.  II.  278. 

National  Academy,  New  York,  Vol. 

I.  56,  78,  137,  149,  180,  183,233, 
238,  266,  286,  309,  321,  327  ; 
Vol.  II.  10,  45,  46,  96,  134,  145, 
153,  343. 

National  Gallery,  London,  Vol.  I. 
36,  83,  141,  152,  154,  231,  233, 
236,  241,  269,  274,  303,  324, 
351,  365  ; Vol.  II.  14,  15,  32, 
33,  35,  36,  48,  61,  69,  71,  83, 
137,  155,  180,  202,  216,  268, 
304,  308,  333,  340,  352,  353, 
358. 

National  Museum  of  Education, 
Washington,  Vol.  II.  267. 
Natural  Science  Rooms,  Buffalo, 
Vol.  II.  249. 

Neill,  William,  Vol.  I.  345. 

Nelson  Monument,  London,  Vol. 

II.  360. 

Nevins,  Mr.,  Vol.  11.  2. 

Newton  Theological  Seminary,  Vol. 
II.  367. 

New  University  Club,  London,  Vol. 
11.  336. 

Nickerson,  Samuel,  Vol.  11.  144. 
Nicolas  Church,  statues  at,  Vol.  II. 
146. 

Niebelungen,  Grand  Hall  of  the,  at 
Munich,  Vol.  II.  7. 

Niederwald,  National  Monument 
in  the,  Vol.  II.  241. 

Noel,  Vol.  I.  86. 

Norcross,  Miss,  Vol.  I.  254. 

Norton,  Charles  E.,  Vol.  II.  227. 
Norzy  sale,  Paris,  Vol.  I.  197  ; Vol. 
II.  302,  371. 


36 


GENERAL  INDEX. 


Oakey,  Daniel,  Vol.  11.  153. 
O’Brien,  John  0.,  Vol.  I.  122. 
O’Brien,  S.  W.,  Vol.  I.  111. 
O’Brien,  William,  Vol.  I.  122. 
Odio,  M.,  Vol.  11.  317. 

O’Donovan,  Mr.,  of  Baltimore,  Vol. 
II.  23. 

Oetgelt,  M.,  Vol.  II.  177. 

Ogden,  Francis  Barbour,  Vol.  I. 
369. 

Olyphant,  R.  M.,  collection  of,  Vol. 

I.  56,  123,  144,  173,  294,  312, 
370  ; Vol.  II.  21,  64,  131,  280, 
350. 

Olyphant  sale,  Vol.  II.  21. 

Opera  omamentale  pubblicato  per 
cura  deir  academia  di  beUe-arti 
de  Venezia,  Vol.  I.  76. 
Oppenheim,  M.,  Vol.  I.  342. 
Oppenlreim  sale,  Vol.  I.  75,  96, 
195,  205,  240,  265,  275,  290  ; Vol. 

II.  67,  84,  92,  177,  215. 

Organ,  the  great,  Boston,  VoL  I. 

63. 

Orleans,  Duke  of,  Vol.  I.  82  ; Vol. 
II.  317. 

Osborn,  John,  Vol.  II.  281. 

Osborne  House,  Isle  of  Wight,  Vol. 

I.  17,  137,  231  ; Vol.  II.  169. 
Osborne,  Mi-s.,  Vol.  I.  296. 

Osgood,  James  R.,  Vol.  I.  345  ; VoL 

II.  360. 

Osgood,  James  R.  & Co.,  Vol.  I.  19. 
Otis,  Dr.  F.  N.,  Vol.  I.  113,  296, 
339  ; Vol.  II.  96,  214. 

Otis,  Mr.,  Vol.  I.  55. 

Padelford,  Ex-Governor,  Vol.  II. 
290. 

Palace  of  Justice,  Paris,  Vol.  I.  22, 
75,  131,  221,  223,  228  ; Vol.  II. 
39,  .52,  112,  172. 

Palace  of  St.  Cloud,  A’'ol.  I.  184. 
Palais-Royal,  Vol.  I.  228  ; Vol.  II. 
317. 


Palazzo  Vecchio,  Florence,  VoL  II. 
168. 

Palette  Club,  Hew  York,  Vol.  I. 

211  ; VoL  II.  309. 

Palmer,  Cortlandt,  Vol.  II.  11,  254. 
Paris  sale,  Vol.  I.  139,  140,  178, 
188,  194  ; Vol.  II.  68,  177,  204, 
302. 

Parker,  Henry  D.,  Vol.  II.  139. 
Parliament  Houses,  London,  Vol.  I. 
23,  50,  154,  230,  232,  257,  365  ; 
Vol.  II.  82,  83,  95,  139,  337. 
Parrott,  R.  P.,  Vol.  1.  168. 
Pascault,  M.,  Vol.  I.  75. 

Paschkoff,  M.,  Vol.  I.  342. 

Pasteur,  M.  E.,  Vol.  I.  65. 

Peabody  Institute,  Baltimore,  VoL 
II.  102,  201,  213. 

Peake,  W.  J.,  Vol.  I.  294. 
Pembroke,  Lord,  Vol.  11.  318. 
Penfold,  William  H.,  Vol.  1.  106. 
Penn,  John,  Jr.,  VoL  1.  367. 
Pereire,  Hotel,  Paris,  Vol.  11.  226. 
Pereire  sale,  Paris,  Vol.  11.  215. 
Perkins,  C.  C.,  Vol.  I.  170. 
Permanent  Fine  Art  Exhibition, 
Philadelphia,  Vol.  1.  88. 

Perrier,  Paul,  Vol.  1.  204. 

Peto,  Sir  Morton,  Vol.  1.  340  ; Vol. 
11.  268. 

Phelps,  G.  D.,  Vol.  11.  214. 

Phelps,  Mrs.  A.  R.,  Vol.  11.  214. 
Phillip,  John,  R.  A.,  Vol.  11.  80. 
Phillips  Academy,  Andover,  Vol. 
11.  275. 

Phillips,  John  C.,  Vol.  11.  245. 
Phillipps,  Sir  B.  S.,  Vol.  11.  144. 
Piazza  della  Stagione  at  Ravenna, 
Vol.  11.  168. 

Piazza  Santa  Croce,  Florence,  Vol. 
11.  168. 

Pieri'epont,  H.  E.,  Vol.  11.  163. 
Pinakothek,  the,  of  Munich,  Vol. 
I.  2,  157,  278,  337  ; Vol.  11.  53. 
182,  207. 


GENERAL  INDEX. 


37 


Pinchot,  J.  W.,  Vol.  II.  105,  350. 
Pitti  Gallery,  Florence,  Vol.  I.  37, 
60,  223,  226. 

Pitti  Palace,  Florence,  Vol.  I.  56. 
Platt,  Isaac  S.,  Vol.  II.  292. 

Plint  sale,  London,  Vol.  II.  68. 
Plutarch.  Kestored,  Vol.  11.  362. 
Poland,  Vice-Governor  of,  Vol.  I. 
319. 

Polhemns,  Henry  D.,  Vol.  I.  52  ; 
Vol.  II.  281. 

Pond,  Hon.  Charles  M.,  Vol.  11.  303. 
Ponti,  banker  at  Milan,  Vol.  I.  248. 
Portugal,  King  of,  Vol.  I.  330. 
Post,  Mrs.  E.  K.,  Vol.  I.  345. 
Potter,  Clarkson,  Vol.  I.  97. 

Potter,  Sir  Eichard,  Vol.  I.  84. 
Pound,  Mrs.,  Vol.  I.  55. 

Pourtalfes  sale,  Vol.  I.  197. 

PoweU,  Robert  Hare,  Vol.  II.  127. 
Powerscourt,  Viscount,  Vol.  II.  44. 
Pre-Raphaelite  School  of  Painting, 
Vol.  II.  116. 

Preston,  Miss  Harriet  W.,  Vol.  II. 
139. 

Prevost  sale,  Paris,  Vol.  II.  92. 
Prime,  William  C.,  Vol.  II.  303. 
Prince  Albert,  Vol.  I.  155,  156, 
176,  323  ; Vol.  II.  27,  107,  154, 
169,  180,  288. 

Prince  Albert  of  Prussia,  Vol.  II. 
242. 

Prince  Albert,  tombof,  VoL  II.  301. 
Prince  Esterhazy,  Vol.  II.  281. 
Prince  Heinrich  XVIII.  of  Eeuss, 
Vol.  II.  282. 

Prince  Hercolani,  Vol.  II.  281. 
Prince  Napoleon,  Vol.  I.  183,  267. 
Prince  Royal  of  Prussia,  Vol.  I.  73. 
Prince  of  Wales,  Vol.  I.  102,  326  ; 
Vol.  II.  53. 

Princes  of  Lbwenstein  at  Heubach- 
sur-Mein,  Vol.  II.  271. 

Princess  Albert  of  Prussia,  Vol.  II. 

10. 


Princess  Christian,  Vol.  II.  10. 

Princess  of  Lichtenstein,  chapel  of, 
Vol.  11.  184. 

Princess  Marie  de  Lichtenstein, 
Vol.  II.  271. 

Princess  Mathilde,  Vol.  I.  194  ; 
Vol.  11.  226. 

Probasco,  Mr.,  Vol.  1.  333,  335, 
355  ; Vol.  11.  20,  91,  107,  182, 
239,  265,  282,  332. 

Putnam,  Rev.  A.  P.,  Vol.  11.  286. 

Queen  Christine,  Vol.  1.  263. 

Queen  of  Holland,  Vol.  1.  67,  279, 
385  ; Vol.  11.  176,  310. 

Queen  Marie- Amelie,  Vol.  1.  256, 
258. 

Queen  Victoria,  Vol.  1.  87,  96,  98, 
135,  151,  156,  209,  274,  323, 
326,  339,  347,  361  ; Vol.  11.  80, 
83,  166,  179,  184,  289,  301,  310, 
332,  346. 

Ralston,  W.  C.,  Vol.  1.  111. 

Ravenet,  M.,  Vol.  11.  245. 

Raynor,  W.  H.,  Vol.  I.  347. 

Read,  Matthew,  Vol.  11.  127. 

Read,  Mrs.,  Vol.  1.  100. 

Reed,  Lyman,  Vol.  1.  144. 

Reese,  William  A.,  Vol.  11.  280. 

Regnault,  V.,  Vol.  11.  204. 

Regnet,  Carl  Albert,  Vol.  II.  247. 

Rensselaer,  Eugene  Van,  Vol.  11. 
254. 

Rhodes,  John,  Vol.  I.  172. 

Rich,  Isaac,  Vol.  1.  292. 

Richards,  W.  T.,  Vol.  I.  78. 

Richmond,  G.  B.,  Vol.  11.  157. 

Richmond,  H.,  Vol.  11.  12. 

Richmond,  J.  B.,  Vol.  II.  341. 

Riggs,  George,  Vol.  11.  102. 

Riggs,  G.  W.,  Vol.  11.  168. 

Riggs,  Mr.,  Vol.  I.  345. 

Riker,  John  L.,  Vol.  I.  369. 

Ripley,  Joseph,  Vol.  11.  133. 


38 


GENERAL  INDEX. 


Riston,  John  A.,  Vol.  II.  64. 
Ritchie,  A.  H.,  Vol.  I.  321. 

Robaut,  Mr.,  Vol.  I.  158. 

Robbins,  H.  W.,  Vol.  II.  214. 
Roberts,  H.,  Vol.  I.  88. 

Roberts,  Lewis,  Vol.  I.  61. 

Roberts,  M.  0.,  collection  of,  Vol. 
I.  29,  56,  78,  101,  137,  144,  238, 

295,  312,  321,  322,  335,  378  ; 
Vol.  II.  114,  135,  168,  189,  279, 
297. 

Robertson,  Touro,  Vol.  II.  259. 
Robinson,  Nelson,  Vol.  I.  122. 
Robinson,  W.  F.,  Vol.  II.  250. 
Rookefellow,  F.,  Vol.  II.  345. 
Rogers,  C.  B.,  picture  of,  Vol.  I.  27. 
Rogers,  Charles,  Vol.  II.  278,  290. 
Rogers,  E.  L.,  Vol.  I.  144. 

Rogers,  Fairinan,  Vol.  I.  346. 
Rogers,  John,  Vol.  II.  248. 

Rogers,  the  poet,  Vol.  I.  211. 
Rohan,  Duke  of,  Vol.  II.  318. 
Rone,  M.,  Vol.  II.  177. 

Rothschild,  Baron,  Vol.  I.  119,  265, 

296. 

Rothschild,  Baroness  Nathaniel  de, 
Vol.  II.  82. 

Royal  Academy,  London,  Vol.  1. 

139,  194,  209,  234  ; Vol.  11.  54. 
Royal  Association  for  the  Promo- 
tion of  Fine  Arts,  Vol.  1.  235. 
Royal  Exchange,  London,  Vol.  11. 
76. 

Royal  Palace  of  Lisbon,  Vol.  1.  217. 
Royal  Scottish  Academy,  Vol.  1. 
210. 

Rudersdorff,  Mme.,  Vol.  11.  139. 

Sage,  Mrs.  Dean,  Vol.  1.  95. 
Saint-Cloud,  Vol.  11.  276. 

Salem  Independent  Cadets,  Vol.  11. 
367. 

Salem  Normal  School,  Vol.  11.  367. 
Salford  Gaol,  klauchester,  Vol.  II. 
336. 


SaUe  des  Etats,  Berlin,  Vol.  11. 
296. 

Salon  of  Constantine,  Paris,  Vol. 
11.  319. 

Salon  of  the  French  School,  Rome, 
Vol.  1.  223. 

Sand,  George,  Vol.  I.  73. 
Sandeman,  J.  G.,  Vol.  11.  151. 

San  Donato  sale,  VoL  1.  197. 

Sands,  Philip  J.,  Vol.  1.  295. 
Sankenau,  Mr.,  Vol.  11.  175. 
Saraceni,  Count,  Vol.  I.  124. 
Sargent,  Winthrop,  Vol.  II.  139. 
Sarony,  N.,  Vol.  1.  295. 

Sartain,  Mr.,  of  Philadelphia,  Vol. 
11.  306. 

Saville  Collection,  Vol.  11.  260. 
Saxe-Coburg  of  Gotha,  Piince  of, 
Vol.  11.  311. 

Say,  M.,  Vol.  1.  290  ; Vol.  II.  109. 
Sayles,  H.,  Vol.  1.  164. 

Sayles,  J.,  Vol.  1.  146. 

Schack,  Baron,  Vol.  11.  58. 

Schack,  Count  A.  von,  Vol.  1.  68. 
Schaus,  IV.,  Vol.  1.  46,  152. 
Schefifel,  T.  V.  von,  Vol.  11.  344. 
Scheffer,  S.  M.,  Vol.  11.  103. 
Schiller  Monument,  Vol.  1.  49. 
Schlesinger,  B.,  VoL  1.  159;  Vol. 
11.  93,  100. 

Schultz,  Jackson,  Vol.  11.  254. 
Schuyler,  Montgomer)^  Vol.  11.  96. 
Schuyler,  Philip,  A^ol.  11.  261. 
Schuyler,  R.  M.,  Vol.  11.  363. 
Schwabacher,  M.,  Vol.  1.  75. 

Scott,  John,  Vol.  11.  43. 

Scott,  John  B.,  Vol.  1.  7. 

Scottish  National  Gallerj',  Vol.  1. 
9,  98,  136,  218,  224,  355,  378  ; 
Vol.  11.  41,  166,  171,  271. 
Scottish  National  Memorial,  Edin- 
burgh, Vol.  II.  269. 

Seal  of  the  Confederate  States,  Vol. 
1.  259. 

Sears,  Frederick  R.,  Vol.  11.  139. 


GENERAL  INDEX. 


39 


Sears,  J.  M.,  Vol.  II.  150. 
Sedelmeyer,  M.,  Vol.  II.  177. 
Sedelmeyer  sale,  Vienna,  Vol.  II. 
24. 

Seure,  M.,  Vol.  I.  76. 

Sharpless,  Charles,  Vol.  II.  127. 
Shattuck,  W.  B.,  Vol.  II.  349. 
Shaw,  Quincy  A.,  Vol.  I.  159. 
Shaw,  Theron,  Vol.  II.  2. 
Sheepshanks  Collection,  Vol.  I. 
127,  152,  15.5,  171,  224  ; Vol.  II. 
36,  48,  61,  202,  358. 

Sherman,  General,  Vol.  I.  261. 
Sherwood,  J.  H.,  Vol.  I.  294,  321, 
335,  362,  384  ; Vol.  II.  45,  251, 
264,  270,  335,  349. 

Shimmin,  Mr.,  Boston,  Vol.  I.  324. 
Sidman,  John  E.,  Vol.  II.  281. 
Simpson,  Sir  Walter,  Vol.  II.  77. 
Sinderman,  Dr.  G.  B.,  Vol.  I. 
83. 

Skene,  A.  J.  C.,  M.  D.,  Vol.  II. 
286. 

Slack,  Mrs.  E.  E.,  Vol.  I.  240  ; 
Vol.  II.  210. 

Sligo,  Marquis  of,  Vol.  II.  297. 
Sloane,  William  D.,  Vol.  II.  261. 
Smillie,  James,  Vol.  II.  259. 
Smillie,  William  M.,  Vol.  II.  258. 
Smith,  Bryan,  Vol.  II.  11. 

Smith,  Charles  H.,  Vol.  I.  294. 
Smith,  Charles  S.,  Vol.  II.  127. 
360. 

Smith,  Collingwood,  Vol.  II.  199. 
Smith,  D.  C.  W.,  of  Philadelphia, 
Vol.  II.  345. 

Smith,  Eustace,  Vol.  II.  50. 

Smith,  Governor,  Vol.  I.  130. 
Smith,  Mrs.  Lee,  Vol.  II.  290. 
Smith,  Boswell,  Vol.  II.  129. 

Sneff,  C.  H.,  Vol.  I.  56. 

Societe  des  Amis  des  Arts,  Vol.  I. 
207,  256. 

Society  of  American  Artists,  Vol.  I. 
230,  233,  266  ; Vol.  II.  30,  56, 


72,  84,  104,  153,  234,  291,  327, 
354. 

Soldiers’  Home,  near  Washington, 
Vol.  II.  367. 

Soldiers’  Monument,  Boston,  Vol. 
II.  122. 

Somerset  Club,  Boston,  Vol.  I.  146  ; 
Vol.  II.  262. 

Somerset  House,  London,  Vol.  11. 
171. 

Sommerard,  M.  Du,  Vol.  1.  284. 
SommervUle,  Dr.  J.  M.,  Vol.  11. 
129. 

Southejq  monument  to,  Vol.  II.  76. 
South  Kensington  Collection,  Vol. 

I.  266  ; Vol.  II.  36,  207,  288, 
336. 

Spencer,  Mrs.  Lorillard,  Vol.  1. 122. 
Sprague,  Amasa,  Vol.  11.  218. 
Sprague,  William,  Vol.  II.  218. 
Sprea,  Dr.,  Vol.  1.  118. 

Stackpole,  F.,  Vol.  II.  207. 

Staedel  Institute,  Frankfort,  Vol. 

II.  158,  237. 

Stamford,  Governor,  Vol.  I.  111. 
Stanford,  Hon.  L.,  Vol.  1.  357. 
Starr,  Mrs.  Walter  S.,  Vol.  1.  182. 
Staunton,  Mrs.  E.  J.,  Vol.  II.  351. 
Stausse,  V.,  Vol.  II.  129. 

St.  Clair,  Mr.,  Vol.  II.  266. 

Stearns,  John  N.,  Vol.  1.  149. 
Stebbins,  Mr.,  Vol.  I.  290 ; Vol. 
II.  322. 

Stephens,  F.  G.,  Vol.  1.  363. 
Stephenson,  Robert,  Vol.  II.  268. 
Stevens,  Mrs.  Paran,  Vol.  1.  212. 
Stevenson,  J.,  Vol.  II.  221. 
Stewart,  A.  B.,  Vol.  1.  135. 

Stewart,  A.  T.,  collection  of,  Vol. 
1.  33,  55,  263,  264,  290,  296, 
335,  378  ; Vol.  II.  107,  164,  189, 
361,  368,  369. 

Stewart,  Charles  M.,  Vol.  II.  264. 
Stewart,  Sir  W.  D.,  Vol.  II.  117. 
Stewart,  W.  H.,  Vol.  11.  298. 


40 


GENERAL  INDEX. 


St.  George’s  Hall,  Liverpool,  Vol.  1. 
4 ; Vol.  II.  287. 

St.  George’s  Society,  Philadelphia, 
Vol.  II.  279. 

Stillman,  James,  Vol.  II.  261. 
Stiner,  Joseph,  Vol.  II.  103. 
Stirbey,  Prince,  Vol.  I.  119. 

St.  John,  Mr.,  Vol.  II.  75. 

St.  Luke’s  Hospital,  New  York, 
Vol.  1.  55,  377. 

Stoddard,  E.  H.,  Vol.  11.  12. 
Stokes,  Anson  P.,  Vol.  1.  378. 
Stone,  Mrs.  A.  B.,  Vol.  1.  295. 
Stone,  Mrs.  J.  O.,  Vol.  11.  286. 
Storrs,  Dr.,  Vol.  II.  163. 

Storrs,  Charle.s,  Vol.  11.  297. 
Stoughton,  Hon.  E.  W.,  Vol.  II. 
189. 

St.  Paul’s  Cathedral,  London,  Vol. 

I.  49,  95  ; Vol.  II.  9.5,  272,  287, 
360. 

StrogonolT,  Count  P.,  Vol.  1.  240. 
Strousberg  sale,  Paris,  Vol.  1.  3, 
90,  205,  225,  280  ; Vol.  II.  26, 
226. 

Stuart,  Ale.vander,  Vol.  I.  173. 
Stuart,  Joseph,  Vol.  1.  67. 

Stuart,  R.  L.,  A^ol.  1.  78,  101,  227  ; 
Vol.  11.  12,  21,  38,  114,  209, 
350. 

Stuart,  Sir  AVilliam  Drummond, 
Vol.  II.  297. 

Sturges,  Jonathan,  Vol.  1.  144  ; A'^ol. 

II.  134. 

Sturges,  Mr.,  A^ol.  1.  67,  227. 
Sutton,  E.  K.,  A’^ol.  1.  97. 

Sutton,  Mrs.  Eliza,  Vol.  11.  240. 
Suydam  Collection,  A^ol.  1.  56  ; 
Vol.  11.  32. 

Suydam,  James  A.,  A'ol.  11.  104. 
Sweden,  King  of,  A''ol.  1.  359. 
Sweeney,  Captain,  Vol.  11.  260. 
Stvinburne,  A.  C.,  A'ol.  II.  346. 
Szorvady,  Air.,  Vol.  1.  158. 
Tabourier,  M.,  A’^ol.  11.  170. 


Taft,  Richard,  A"ol.  11.  11. 

Taylor  Gallery,  Oxford,  Vol.  II. 
228. 

Taylor,  Air.  Harry,  A’^ol.  1.  345. 
Taylor,  Airs.  E.  AV.,  A"ol.  1.  345. 
Taylor,  Thomas,  Vol.  1.  253,  345. 
Taylor,  AATlliam  C.,  A'ol.  1.  271. 
Temple  Church,  Loudon,  Vol.  11. 
260. 

Temple  HaU,  Inner,  London,  A^oL 

I.  24. 

Temple,  Et.  Hon.  Cooper,  A'ol.  11. 
17. 

Thatcher,  J.  B.,  Vol.  II.  77. 
Thayer,  George  L.,  A’ oh  II.  128. 
Thayer,  AV.  H.,  AI.  D.,  A'ol.  II. 
286. 

Theater  of  the  Scala  at  Alilan,  A’ol. 

II.  278. 

Thiers,  AL,  A'ol.  II.  301. 

Thomas,  G.  C.,  A'’ol.  11.  359. 
Thomas,  J.  B.  (pictures),  A’^ol.  1. 
27. 

Thomas,  Al'illiam,  Albany,  Vol.  1. 
286. 

Thompson,  Launt,  A’'ol.  1.  335. 
Thompson,  Airs.  Elizabeth,  A’ol.  I. 
121. 

Thoms,  John  B.,  Vol.  11.  198. 
Ticknorand  Field.s,  A’ol.  1.  19. 
Tietjens,  Alme.  Teresa,  A’ol.  11. 
139. 

Tiftany,  L.  C.,  A’ol.  1.  295,  296. 
Tilton,  Theodore,  A’ol.  11.  159. 
Tirrell,  Air.,  A’ol.  11.  1. 

Tomb  of  Napoleon  at  the  InvaRdes, 
A’ol.  11.  59. 

Tosca,  Count,  A’ol.  11.  131. 

Toucey,  J.  AL,  A’ol.  11.  45. 

Tower  of  Saint-Germain-P Anxerrois, 
A’ol.  II.  73. 

Tower  of  Saint-Jacques  la  Boucherie, 
Paris,  A’ol.  I.  281. 

Townsend,  John  P.,  A’ol.  1.  1 ; AM. 
11.  153. 


GENERAL  INDEX. 


41 


Trafalgar  Square,  London,  Vol.  I. 

29,  232  ; Vol.  II.  95. 

Traversi,  Antonio,  Vol.  II.  282. 
Tribunal  of  Commerce,  New  Palace 

of  the,  Vol.  11.  215. 

Trinity  Church,  Boston,  Vol.  II. 

30,  40. 

Trinity  Church,  New  York,  Vol.  I. 

365,  371  ; Vol.  II.  230. 

Trinity  College,  Oxford,  Vol.  II. 
341. 

Trison,  H.,  Vol.  I.  369. 

Troyon,  mother  of,  Vol.  II.  302. 
Trumbull  Gallery,  Yale,  Vol.  I.  26. 
Tuileries,  Vol.  I.  114,  129,  184, 
187,  196,  197,  376  ; Vol.  II.  45, 
50,  73,  86. 

Turner,  Charles,  Vol.  II.  220. 
Turner,  Mr.,  Brooklyn,  Vol.  II. 
232. 

Tweed,  William  M.,  Vol.  II.  354. 

Uffizi,  Florence,  Vol.  I.  56,  199, 
226,  247,  250,  273  ; Vol.  II.  140, 
163,  192,  234,  308. 

Uncle  Tom’s  Cabin,  Vol.  II.  289. 
Union  Club,  Boston,  Vol.  I.  146. 
Union  League  Club,  New  York, 
Vol.  1.  377  ; Vol.  11.  101,  247, 
275,  335. 

Union  League  Club,  Philadelphia, 
Vol.  II.  1,  144. 

University  of  Pisa,  Vol.  1.  199. 
University  of  London,  Vol.  1.  229  ; 
Vol.  IL  171. 

Valette,  Count  W.  de  la,  Vol.  IL 
195. 

Van  Arden,  Isaac,  Vol.  IL  103. 
Van  Brunt,  Mrs.  D.  B.,  Vol.  IL 
139. 

Van  Cuyck,  M.,  Vol.  IL  177. 
Vanderbilt,  William  H.,  Vol.  1. 

321  ; Vol.  IL  220. 

Vanderpoel,  J.,  Vol.  IL  214. 


Van  Deuzer,  S.  E.,  Vol.  I.  56. 

Van  Doren,  Dykeman,  Vol.  1.  313. 
Van  Valkenburg,  A.,  Vol.  II.  259. 
Van  Valkenburg,  P.,  Vol.  1.  321. 
Vassar  College,  Vol.  1.  238. 
Vatican,  the,  Vol.  IL  122. 
Vendome,  Column,  Vol.  1.  37,  223. 
Venier  Voldo,  Vol.  1.  143. 

Verdi,  Vol.  II.  131. 

Vernet  Gallery  at  Avignon,  Vol.  IL 
318. 

Vernon  Collection,  Vol.  I.  141, 152, 
154,  236,  269,  304,  324,  351,  365  ; 
Vol.  IL  14,  33,  61,  69,  137,  180, 
216. 

Vernon,  Eobert,  Vol.  1.  233  ; Vol. 
IL  358. 

Vickers,  Hon.  George,  Vol.  II.  282. 
Victor  Emmanuel,  Vol.  1.  379  ; 
Vol.  IL  80,  181. 

Villa  Massimi,  Vol.  I.  277  ; Vol. 
IL  158. 

Villa  Oppenheim,  Florence,  Vol.  II. 
181,  250. 

Villa  Warschauer  at  Charlotten- 
burg,  Vol.  1.  344. 

Virtue,  James  S.,  Vol.  IL  208. 
Viscount  D’Opia,  Vol.  1.  210. 
Vblcker,  M.,  Vol.  1.  77. 
Voykerstoot,  Baroness,  at  Brussels, 
Vol.  IL  310. 

Wadsworth  Gallery,  Hartford,  Vol. 
1.  36,  144. 

Wagner,  Consul,  of  Berlin,  Vol.  1. 
117. 

Wagner,  Senator,  Vol.  1.  287. 
Waldo,  George  C.,  Vol.  IL  254. 
Wales,  Mr.,  Vol.  11.  290. 

Walhalla,  the,  Vol.  IL  76. 

Walker,  Mr.  Theophilus,  Vol.  1. 

14. 

Wallace,  Sir  Eichard,  Vol.  IL  177. 
Wallack,  Lester,  Vol.  IL  261. 
Wallis,  H.,  Vol.  1.  138,  258. 


42 


GENERAL  INDEX. 


Walraff-Eichartz  Museum,  Cologne, 
Vol.  1.  46. 

Walters  Gallery,  Baltimore,  Vol.  I. 
29,  38,  60,  72,  78,  89,  91,  114, 
129,  137,  166,  197,  199,  200,  205, 
230,  238,  252,  275,  290,  319,  354, 
370  ; Vol.  II.  5,  8,  12,  64,  111, 
117,  147,  185,  245,  298,  311,  313, 
339,  352,  369. 

Ward,  Capt.  William,  Vol.  II.  43. 
Ward,  J.  Q.  A.,  Vol.  II.  153. 

War  Office  at  Washington,  Vol.  I. 
261. 

Warren,  Burges,  Vol.  I.  83. 
Warren,  E.  B.,  Vol.  II.  278. 
Warren,  G.  B.,  Jr.,  Vol.  II.  13. 
Warren,  G.  H.,  Vol.  I.  45. 

Warren,  Mrs.  S.  D.,  Vol.  I.  130, 
164  ; Vol.  II.  119,  232. 

Warren,  S.  D.,  Vol.  I.  286,  305  ; 

Vol.  II.  1,  13,  231. 

Warren,  AValter  P.,  Vol.  I.  231. 
Warren,  William,  Boston,  Vol.  II. 
367. 

Wartburg,  the,  Vol.  II.  145,  221. 
Waterloo  Place,  London,  Vol.  I. 
50,  71. 

Watson,  M.  P.,  Vol.  I.  137. 
Watson,  Mr.,  of  New  York,  Vol. 
II.  1. 

Wayland,  C.  N.,  Vol.  II.  11. 
Weeks,  James  H.,  Vol.  I.  12 ; 
Vol.  II.  160. 

Weeks,  Mrs.  J.  H.,  Vol.  II.  321. 
Wehrstorfer,  Vol.  1.  6. 

Weimar,  Grand  Duke  of,  Vol. 
II.  7. 

Welles  de  La  Valette,  Count,  Vol.  1. 

200. 

Welling,  H.  J.,  Vol.  1.  52. 
Wellington,  Duke  of,  Vol.  1.  310  ; 

Vol.  11.  144,  288,  332. 
Wertheimber  sale,  Vol.  1.  73,  225  ; 

Vol.  11.  92,  109. 

Wesleyan  College,  Vol.  1.  292. 


AVestern  Union  Telegrajih  Office, 
Vol.  1.  143. 

AVestminster  Abbey,  A''ol.  I.  4,  23, 
49  ; Vol.  II.  95,  287,  361. 
AVestminster  Hall,  A'ol.  1.  365; 
VoL  11.  285. 

AVestminster,  Marq^uis  of,  A'ol.  1. 
179. 

AVestminster,  Palace  of,  VoL  II. 
285,  337. 

AVestphalia,  King  of,  Vol.  11.  316. 
AA^'estphalian  Art  Union,  A’ol.  1. 
48,  53. 

AVetmore,  G.  P.,  A^ol.  1.  276,  369. 
AVheatland,  George,  A^ol.  11.  139. 
AA'^hidden,  Mr.,  A'ol.  11.  1. 

AVhite,  A.  J.,  Vol.  11.  348. 

AA’hite,  Col.  T.  G.,  A^ol.  11.  348. 
AA’^hite,  Dr.  Octavius,  A’ol.  11.  347. 
AVhite,  J.  H.,  A'ol.  II.  260. 

AVhite,  J.  J.  B.,  A'ol.  11.  348. 
AVhite,  Mrs.  S.  F.,  A’ol.  1.  130. 
AVhitney,  Asa,  A’ol.  11.  25. 
AA’hitney,  George,  A^ol.  1.  78 ; A’oL 
II.  12,  209,  359. 

AAliitney,  AV.  H.,  A'ol.  11.  130. 
AA’hittaker,  G.  AA’.,  Vol.  1.  83. 
AA’liittier,  J.  G.,  A’ol.  1.  102,  121. 
AA’ickham,  AA’illiam  H.,A’ol.  11.  134. 
AVidner,  P.  A.,  A’ol.  11.  130. 
AA’ieland  Hall  at  AA’eimar,  A’ol.  11. 
193. 

AVigglesworth,  Thomas,  A’ol.  1.  128, 
164,  240,  278,  383  ; A’ol.  II.  156, 
157,  220. 

AA’illiam  II.  of  Holland,  A’ol.  11. 

22. 

AA’illiams,  J.  T.,  A’ol.  1.  207,  247  ; 

A’ol.  II.  86,  339. 

AVilliams,  S.  T.,  A’ol.  II.  258. 
AA’illiams,  Thomas,  A’ol.  II.  1. 
AVilson  Exhibition,  Brussels,  A’ol.  1. 

30,  64,  77  ; A’ol.  11.  185,  208. 
AA’ilson  Gallery,  Bnissels,  A’ol.  I. 
205. 


GENERAL  INDEX. 


43 


Wilson,  M.,  Vol.  I.  202. 

Wilson  sale,  Paris,  Vol.  I.  225. 
Wilson,  W.,  Vol.  II.  259. 

Winch,  Mr.,  of  London,  Vol.  I.  245. 
Winter  Palace,  St.  Petersburg,  Vol. 

I.  27  ; Vol.  II.  283. 

Withering  sale,  Paris,  Vol.  I.  279; 
Vol.  II.  68. 

Wolfe,  Miss,  Vol.  I.  112,  200; 

Vol.  II.  240,  322,  361. 

Wolfe  sale.  New  York,  1863,  Vol.  I. 
3,  46,  89,  96,  134,  272,  317,  337  ; 
Vol.  II.  23,  24,  26,  239,  371. 
Wolsey,  Mr.,  Vol.  II.  208. 
Woltniann,  Alfred,  Vol.  I.  49. 
Wolverton,  Mr.,  of  Philadelphia, 
Vol.  II.  306. 

Woods,  Charles  G.,  Vol.  II.  328. 
Woolsey,  C.  W.,  Vol.  II.  153. 
Wright,  Mr.,  of  Boston,  Vol.  II. 
232. 


Wright  sale,  Vol.  II.  21. 

Wright,  Samuel  V.,  collection  of, 
Vol.  I.  5,  52,  78,  108,  295,  325, 
334,  335,  362,  370  ; Vol.  II.  115, 
153,  173,  237,  261,  288,  297. 
Wright,  William  P.,  collection  of, 
Vol.  I.  3. 

Wiirtemberg,  King  of,  Vol.  I.  106, 
365  ; Vol.  II.  125. 

Wyman,  S.  G.,  Vol.  II.  102. 
Wyndham,  Hon.  Percy,  Vol.  II. 
346. 

Yale  College,  Vol.  I.  10,  376. 

Yale  School  of  Fine  Arts,  Vol.  II. 
351. 

Young,  Mrs.  M.  B.,  of  Fall  Biver, 
Vol.  II.  208. 

Younglove,  Mrs.,  Vol.  II.  174. 
Zollickoffer,  Dr.  H.F.,  Vol.  11.  338. 


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